Datasets:

AIRI-NLP

/

quality_counter_new_5120

like 0

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

behind

How many times the word 'behind' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

farther

How many times the word 'farther' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

shortness

How many times the word 'shortness' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

talking

How many times the word 'talking' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

eagerness

How many times the word 'eagerness' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

equality

How many times the word 'equality' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

drink

How many times the word 'drink' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

respective

How many times the word 'respective' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

obliterated

How many times the word 'obliterated' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

c'm

How many times the word 'c'm' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

wall

How many times the word 'wall' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

than

How many times the word 'than' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

rear

How many times the word 'rear' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

chapter

How many times the word 'chapter' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

dietrich

How many times the word 'dietrich' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

following

How many times the word 'following' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

piano

How many times the word 'piano' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

whatsoever

How many times the word 'whatsoever' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

can

How many times the word 'can' appears in the text?

(indignant) No, no seriously! There's a study done on this, you walk this way, the muggers are gonna single you out. CLAIRE And die laughing, because you're walking so stupid! MIKE (mock anger) Hey. This is my business. Do I tell you your business. CLAIRE Okay. Let's just see if a mugger gets me. She takes off down the street; walking stupidly, worse than he did -- he's LAUGHING as he WATCHES HER GO. CUT TO: INT. PATROL CAR - NIGHT The COPS following exchange dubious glances, getting a glimpse of the strangeness. DISSOLVE TO: INT. PIANO BAR - NIGHT CAMERA FINDING CLAIRE and MIKE, at a small table, in darkness, a piano bar playing in the background. The song being sung is "SOMEONE TO WATCH OVER ME." MIKE ... It was like... the minute I saw her... I knew. She looked so damn adorable in a cop's uniform... puttin' on a big, tough act... CLAIRE So it was "love". MIKE Yeah. It was. CLAIRE And "is"...? He hesitates; but nods. MIKE (confirming it) Yeah. CLAIRE That's nice. And you live in Queens? With a child, and a dog...? MIKE No dog. CLAIRE I saw you with a dog, in my mind. MIKE No dog. CLAIRE But "nice". MIKE Very nice. Her envy is plain. MIKE What about Neil? CLAIRE You don't like him, do you? MIKE (a pause) What's to like? CLAIRE (amused) Tell it like it is. MIKE You asked. CLAIRE He's very caring, in his way. You haven't seen him at his best. MIKE You could do better. CLAIRE (laughs) I'll miss you, Mike... ANGLE ON BOTH: the music playing. CLAIRE It was nice having you "watch over me"... MIKE Yeah. I liked being around you too... Claire. CLOSE ON MIKE: feeling a moment of awkwardness. MIKE Let's go home. CUT TO: EXT. CITY STREET - NIGHT The PATROL CAR keeping pace as the two walk home; the COPS in the BLACK-AND-WHITE exchange a look at what they are seeing. MIKE is holding her arm, she's huddled up; she is cold and he removes his topcoat and puts it around her shoulders. CUT TO: EXT. CLAIRE'S BUILDING - NIGHT The PATROL CAR comes to a STOP as MIKE and CLAIRE ENTER. ANGLE ON THE TWO COPS AGAIN: watching them go. CUT TO: INT. CLAIRE'S ELEVATOR - NIGHT As they ride up in silence -- on opposite sides of the elevator -- looking at each other. It comes to a stop, and neither moves; the tension is palpable. She steps out first, he follows. She moves to the doors and stops -- her shoulders visibly relaxing as he moves up behind her. But he stops, too. And she turns. ANOTHER ANGLE: Both captive to indecision. It is he who makes it, just by staying immobile for too long. She smiles and takes off her coat, holding it out to him. And in the moment of exchange is the return to reality. CLAIRE Good night, Mike. MIKE Sleep good. She turns to open the door. Entering she -- and we -- suddenly can see Neil pacing in the hall, b.g. He's returned. He looks up, worried and very upset. CLOSE ANGLES ON FACES. NEIL It's 3 o'clock in the morning. Where the hell have you been? CUT TO: INT. DOWNTOWN HEADQUARTERS - DAY MIKE heading down a LONG HALL TOWARD GARBER'S OFFICE: It's like running a gauntlet. COP #1 Hey, Mike, tough night. KOONTZ I guess it happens, you know? A chick gives you a ride in her limousine, the next thing she wants is to wear your clothes... (a beat) ... I heard he had her underpants on his head. That one got to him; stopped dead by it, he turns, giving KOONTZ a challenging look. COP #1 Ease up, Mike. Ain't nobody gonna tell the old lady. CLOSE ON MIKE: cooling down -- then girding himself for GARBER. KOONTZ Ain't the first time the taxpayers paid for a blow-job neither. CUT TO: INT. CORRIDOR - DAY GARBER and MIKE on the carpet. GARBER (steamed) Don't tell me it was "no big deal," it was out of line, it makes you look like an asshole, and it makes me look like an asshole. She's coming in, in a few minutes to I.D. Venza. If Steinhart's with her, I want you to apologize. (in motion) Let's get this over with... In the room next to the corridor, KOONTZ interrupts the shift already there, entering. KOONTZ Okay, we're gonna have a line-up here... The OTHER COPS grab their things and scatter, not wanting to get involved in another cop's headache. CUT TO: INT. FARTHER DOWN THE CORRIDOR - SAME - DAY CLAIRE approaching with NEIL, with T.J. on guard-duty. GARBER Good morning, Miss Gregory. MIKE AND CLAIRE catch each other's eyes. He sees how nervous she is. CLAIRE It was my fault not Detective Keegan's, I'm sorry for all the fuss. NEIL catches MIKE'S glance at her; reassures himself with a glance at CLAIRE, straightens, still steamed from last night. GARBER picks up on it, not liking the tension, especially not now; his eyes throw daggers at MIKE. GARBER (to Claire) You all ready? NEIL (playing the protector role) Will this take long? GARBER We'll see. GARBER TURNS, getting them started. CUT TO: INT. VIEWING ROOM - SAME - DAY They crowd in; another MAN already standing there -- VENZA'S PARK AVENUE LAWYER. A one-way window looks into the brightness of the line-up (squad) room that's emptied now and undergoing preparation by KOONTZ. GARBER to CLAIRE, a professional reassurance. GARBER They can't hear you, they can't see you... (introducing pro forma) Mr. Venza's attorney, Mr. Neuman; arresting officer Keegan... (to Claire) Good luck. With that, GARBER leads NEIL out. NEIL manages a final concerned stare at CLAIRE before he goes. The DOOR CLOSES. MIKE, CLAIRE, and an unruffled MR. NEUMAN, THE LAWYER, are left alone in the cramped space. INT. LINE-UP ROOM - SAME - DAY KOONTZ beckons VENZA and the OTHER FOUR LINE-UP PARTICIPANTS IN. KOONTZ Okay, take a seat... you, put a couple phone books under your rear... VENZA enters confidently, with the others. He's number three. He takes his place, staring unconcernedly past the bright lights toward the direction of the mirrored window, as if he could see through it, into CLAIRE'S EYES. INT. VIEWING ROOM - SAME - DAY CLAIRE, staring expressionless, her eyes etched with fear. MIKE aware of that fear. VENZA'S LAWYER waiting patiently, casually. INT. LINE-UP ROOM - DAY VENZA and the OTHERS WAITING, now STANDING ON DISPLAY. KOONTZ (V.O.) (OVER SPEAKER) Will everyone except number three please take one step back? VENZA'S JAW TIGHTENS, a flicker, before catching himself and controlling the reaction. Realizing. She's making positive identification. CUT TO: INT. SUBWAY - EVENING MIKE, empty-eyed. On his way HOME. CUT TO: INT. MIKE'S LIVING ROOM - NIGHT ELLIE dressed for sleep, in a DISNEYWORLD T-SHIRT, pauses to glance with worried eyes -- toward the living room where WE HEAR the SOUND of a TV. ANGLE ON MIKE: on a couch, beer in hand -- mindlessly watching. ELLIE Coming to bed? MIKE Few minutes. Want to catch the news. ELLIE (hesitant) Should I wait up? We've got to get up early for the beach tomorrow. MIKE I'll be right up. She accepts it, reluctantly -- returning to the BEDROOM. CLOSE ON MIKE: hitting the remote to SCAN the channels; troubled. CUT TO: INT. CLAIRE'S DEN - EVENING CLAIRE at ease on the couch, staring, trying to follow the images of the television. NEIL, at the bar, pours them both a drink. NEIL They need me back in Miami, but I'd really like it if you could join me. The marlin fishing's supposed to be great off the Keys... He steps forward with her drink. NEIL The change would do you a world of good. She straightens, suddenly attentive, in response to something on the TV. It's a REPORT FROM OUTSIDE THE COURTHOUSE, with the TV NEWSMAN reporting: TV NEWSMAN Denied bail, Joey Venza will remain behind bars at least until the time of the trial -- ANGLE ON NEIL, watching. NEIL Hallelujah. He gives her a drink, leaning down to kiss her on the forehead. NEIL At least now we can get on with our own lives. CUT TO: INT. MIKE'S KITCHEN - MORNING Where life has indeed returned to normal, except for the heavy weight of memory. MIKE, at the counter, makes SANDWICHES, packing a cooler for the game. He grabs TOMMY with an arm-hook as TOMMY tries to swipe a sandwich on the pass through. MIKE Hey, not yet! How many times... Roughhousing TOMMY, MIKE gets him squealing. ELLIE enters, stomping her feet clean, coming in from the garden. ELLIE God, it's freezin' out there. She blows on her hands, shows MIKE how cold, putting them against his cheeks. MIKE (wincing) Ah! She does it to TOMMY, too, except he's too fast for her, yelling and squirming out of the way. The PHONE RINGS. ELLIE doesn't answer it. TOMMY picks it up. TOMMY (a beat) Wait a sec. He offers the phone out to ELLIE. ELLIE Hello. (a beat) Yes, just a second. (hands it to Mike) It's the Whip. MIKE takes it. ELLIE turns to TOMMY, who yelps and darts away, avoiding her cold touch. MIKE (into phone) Hey Lieutenant, how are you...? What?! (to Ellie) Venza's out. (back to phone; pissed) Why didn't the I.D. unit or the D.A.'s office know about his sheet? (a beat) Ah shit... Yeah, yeah, okay I'm on my way in. He SLAMS DOWN THE PHONE, raging. ELLIE What? MIKE Goddamn Venza assaulted a taxi driver in the Bronx, thirteen months ago. It's coming to court and the judge let him walk because of the pending case law. In a fit of RAGE, he SWIPES at a MILK CARTON, sending it HURTLING AGAINST A WALL. ANGLE on TOMMY: amazed. ELLIE Mike, take it easy... MIKE Take it easy! I set her up. I saw it coming. ELLIE It's not your fault. Mike, please get off the case. MIKE (distraught) It is my fault! I'm responsible for her! ELLIE Did you hear what I said? MIKE Did you hear what I said?!! SILENCE. MIKE (to Ellie, with finality) I'm due on at seven. He dumps the rest of the lunch preparations in the sink, exiting. ANGLE on TOMMY and ELLIE looking distraught. TOMMY (dismally) We're not going to the game, are we Mom? ELLIE (pulling herself together) Sure we are, let's go! CUT TO: INT. CLAIRE'S KITCHEN - EVENING MUSIC TURNED UP FULL. CLAIRE spills red wine over the counter, uncorking the bottle. She leaves the stain, grabbing the bottle and a wine glass, taking them with her, in emotional extremis. CUT TO: EXT. CLAIRE'S APARTMENT BUILDING - EVENING ANGLE on MIKE: as he rounds a corner ALMOST BUMPING INTO the JOGGER from CLAIRE'S BUILDING; MIKE hurries, sidestepping him, HEADING toward the ENTRANCE. ANGLE FROM HIS POV: CLAIRE'S FRONT ENTRANCE; extra SECURITY -- A SQUAD CAR PARKED IN FRONT now. ANGLE ON MIKE: SPRINTING INWARD. CUT TO: INT. CLAIRE'S VESTIBULE - SAME - NIGHT The ELEVATOR DOORS OPEN and MIKE steps out, breathless, confronting KOONTZ. The MUSIC CONTINUES TO BLAST from behind the closed apartment doors. KOONTZ grabbing his stuff, massive understatement. KOONTZ She's a little upset. You're going to have to piss in a bottle. He holds up a beer bottle; half-filled with urine. KOONTZ (packs it under his arm) Sorry, I don't have any extras. Have a nice night. HE WILLINGLY LEAVE, and MIKE WAITS but a split second, before going to the doors. They are closed. MUSIC blares from within. No other response. INT. CLAIRE'S LIVING ROOM - SAME - NIGHT Distraught, CLAIRE tries to bring herself back from the brink, placing the wine bottle rack down after she's poured. MIKE (O.S.) Claire? CLAIRE (frightened) What do you want? MIKE (O.S.) Open the door, will you? CLAIRE I can't open it. MIKE (O.S.) It's just me. I want to talk to you. Let me in... The lock turns and it opens, but just a crack, enough to see that she's hysterical, her eyes reddened from crying. CLAIRE You put me life in danger. MIKE No, you'll be safe. We're gonna pick him up again... CLAIRE And then what? I'll never be safe. I'll have to leave the country! You can't protect me, and you can't keep him in jail! And you knew that all the goddamn time! Near bursting, she SLAMS THE DOOR, leaving MIKE STUNNED: Inside, the MUSIC is TURNED UP AGAIN to THUNDEROUS PROPORTIONS. Clenching his fists, MIKE PACES in frustration, then SLAMS his fist against the wall -- NOTICING the door has failed to FULLY SHUT. HE PUSHES IT OPEN, ENTERING THE APARTMENT, CAMERA FOLLOWING HIM as he looks for her. The MUSIC, bounding off the high ceilings and marble floors, is thunderous. INT. CLAIRE'S HALL - NIGHT MIKE (searching for her) Claire...? He moves HURRIEDLY DOWN THE HALL to her BEDROOM, entering, without warning, to SEE HER REFLECTION in the MIRROR as she PULLS ON SOME CLOTHES. MIKE What are you doing? The dress on, she SWEEPS past him, heading toward the doors. CLAIRE You told me I'm safe? I'm going for a walk in the park. MIKE Claire, will you calm down? CLAIRE I'm perfectly calm, I'm a normal human being. I'm going for a walk in the park. MIKE Claire...! She heads out the bedroom door. CUT TO: INT. HALL - SAME - NIGHT ANGLE ON CLAIRE: as she heads down the hall moving fast, he's right behind her. MIKE Stop, will you?! HE GRABS HER, SPINNING HER AROUND. CLAIRE (struggling) Let go! MIKE Stop being nuts! CLAIRE (hysterical) I trusted you! I thought you cared about me?! MIKE I do care about you! CLAIRE More bullshit! More bullshit! (struggling) What kind of odds are they giving me? There must be some kind of office pool. One month? A couple of days? Their physicality reaches a CLIMAX with MIKE pinning her against the wall, she, restrained by him, finally GIVING UP, with a SOB, and COLLAPSING INTO HIS ARMS. MIKE (handling her close) Easy... easy... I'm not gonna leave you alone like this... ANGLE ON CLAIRE: gasping as she clings to him. MIKE I'm not gonna let anything happen to you... He holds her; makes a tentative move toward her -- and stops. She CLOSES THE DISTANCE. THEY KISS. They separate, making sure. They KISS AGAIN, certain. CUT TO: INT. MIKE'S BEDROOM - NIGHT ELLIE startles awake, premonitorily. ELLIE: She turns in the darkness to look at the clock. Heart beating, she reclines again, lying awake, realizing what it was that woke her. She listens, hearing it again. A shuffling SOUND, something moving, outside. She stirs, sitting up, listening. ANGLE: Only silence answers. ELLIE gets up, dissatisfied by the silence, and moves to the rear bedroom window. AT THE REAR WINDOW, she looks out into the darkness. HER POV - BACK YARD It's almost impossible to see anything. Nothing moves. INT. HALL/LANDING - NIGHT ELLIE closes TOMMY'S door, listens again for the SOUND; starts quietly down the stairs. INT. DOWNSTAIRS HALL - NIGHT ELLIE reaches the ground floor, moving for the kitchen. INT. KITCHEN - NIGHT ELLIE enters. She GASPS. A SMALL SHADOWED FIGURE TURNS, CONFRONTING HER. It's TOMMY, having left his room earlier. TOMMY (hushed) There's somebody outside... Recovering from the scare, ELLIE grabs him, relieved, sinking to her KNEES and HOLDING HIM TIGHT. CUT TO: INT. CLAIRE'S BEDROOM - NIGHT MIKE gets up, dressing. CLAIRE watches from the bed. He returns her gaze, reluctant to go, but hesitating to touch her again. CLAIRE clasps his hand, bringing him closer. They kiss, in affirmation. INT. VESTIBULE - NIGHT MIKE stands by the front door as T.J. arrives to begin his duty. T.J. We're gonna need snow boots. MIKE nods, absently, entering the elevator. The PHONE starts to RING in the apartment. CUT TO: INT. SUBWAY - EARLY A.M. - NIGHT MIKE; miserable. The "QUEENS" exit is SEEN APPROACHING through the TRAIN WINDOW; he attempts to pull himself together, rising, waiting for the train to stop. EXT. MIKE'S STREET - SAME As MIKE rounds the corner and looks up. His breath catches. His heart starts to pound. AHEAD, lights ablaze. ONE COP CAR is in front of his HOUSE, and a JEEP (Belonging to SCOTTY). MIKE BREAKS INTO A RUN. INT. MIKE'S ENTRY - NIGHT - MORNING He rushes in. The front door is unlocked, lights are on, but otherwise there is nothing different. He hears VOICES. INT. MIKE'S KITCHEN - NIGHT - MORNING MIKE hurries in. The room is bright. SCOTTY and another cop, BROOKLYN from the 117th, look up from the kitchen table, nursing cups of coffee. BROOKLYN is on duty; SCOTTY has come over on his own. TOMMY has long since been ushered back to bed. ELLIE making coffee at the stove, turns as MIKE enters. She is okay, returning MIKE'S stare with embarrassment. SCOTTY Calm down, everything is okay. Ellie reported a prowler. Probably one of those peepers who've been making this neighborhood such a pleasure... SCOTTY collects his gun from the table, rising. SCOTTY We all look like hell. BROOKLYN (rising) Well, there you are... (to Ellie, unconcerned) I'll come 'round in the car from time to time so you can get some sleep. Just keep the shades pulled. He gives her a peck, yawning. BROOKLYN Thanks for the coffee. ELLIE (to both) Thanks. You're terrific. SCOTTY waves her off with a goodbye, exiting after BROOKLYN. ELLIE turns back to MIKE. ELLIE (sheepishly) I'm sorry. I know I heard noises... the detective's wife... MIKE (tensely) I want you and Tommy to stay with my mother. She shakes her head, amused. ELLIE Don't be ridiculous... That's all I need, rubbing up against your mother and grandmother every day... I can take care of myself... (gently, to him) C'mon, let's go to bed... we all need some sleep... CLOSE ON MIKE. Feeling like absolute hell. CUT TO: INT. MIKE AND ELLIE'S DINING ROOM - AFTERNOON MIKE is threading his necktie. ELLIE stands behind him, in the kitchen, grinning. ELLIE C'mon, don't make an issue of it. Do you want the fucking meatloaf or not? MIKE D'you have to say "fucking" every other word? ELLIE What was that? MIKE You heard me. ELLIE Jesus, Mike, somebody's been feeding you a line of crap. MIKE What're you talking about -- ELLIE I'm talking about I've been talking this way for sixteen years and now, out of the blue, it's vulgar! She leaves the room, slamming the door behind her. He looks at himself in the mirror, wondering what's possessed him. MIKE Fuck. What's happening? INT. MIKE'S KITCHEN - DAY MIKE sits at the table with a cup of coffee. He watches ELLIE from the window. MIKE'S POV ELLIE: Tight jeans, workshirt, scarf tied around her head, she looks great. She looks up, rinsing a greasy grill over a bucket of hot water, playfully sprays the window with the hose, seeing him watching her. CUT TO: INT. SUBWAY - EVENING MIKE walking along the platform amidst the crowded car, returning to his work and his destination. CUT TO: INT. CLAIRE'S ENTRY HALL - EVENING A heavy silence. MIKE sitting, on duty again. He keeps to himself. He doesn't move from his chair. CLAIRE finally enters. She holds tensely, waiting, aware of his mood. CLAIRE Is everything all right? His stare is unyielding. MIKE Yeah. CLAIRE They called here after you left... MIKE (sharply) She's okay. Everything's okay... He looks up. MIKE (anguished) I don't know you... CLAIRE This is me, Mike. There's nothing else... MIKE You don't wash your clothes at the Boulevard Laundromat... you don't pick up your kids from some crummy public school... what is this? A fuckin' joke? CLAIRE (beat; sustaining) Okay, then let's make it easy. It was a mistake. Don't make me feel guilty now that it's over, let's forget about it. She walks away; MIKE sits. INT. CLAIRE'S STUDY She turns to her table to resume work. Scribbled pages litter the surface. Her hands betray her. It's an effort of will. MIKE enters, moving closer. Beginning to cry, she feels his embrace, turning into it. CLAIRE Don't you think I know what this is doing. I know you have a wife. I know you have a family... I'm not asking for anything. I don't want anything... Just please hold me I'm scared... CUT TO: INT. CLAIRE'S BEDROOM - EARLY A.M. - NIGHT CLAIRE lies asleep. MIKE leans over her as she wakes, meeting his gaze, bringing him closer before he goes. They kiss. He withdraws, tenderly returning her gaze and returning her to sleep. INT. HER HALLWAY - EARLY A.M. - NIGHT T.J. standing in the hallway. T.J. Mike...? ANGLE ON T.J., as the bedroom DOOR OPENS -- REVEALING MIKE. T.J. recoils with surprise. T.J. Oh, man. I don't believe you. MIKE steps out, closing the door behind him; distraught. MIKE (beat) All fucked up, T.J. T.J. issues a long, saddened sigh; just staring at him. CUT TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT MIKE sits in a chair by the far wall, staring out toward Manhattan, which glows palely, in the distance. Now PAN OVER THE BED where ELLIE lies asleep. But as WE MOVE CLOSE TO HER FACE, WE SEE she is not asleep; wide-eyed, aware of MIKE in the chair. DISSOLVE TO: INT. MIKE AND ELLIE'S BEDROOM - NIGHT - LATER ELLIE stirs as MIKE slips between the sheets. She embraces him, starts to kiss him. He rolls over. A moment of silence. ELLIE You gotta get another tour. We're gettin' too old for this. MIKE I'm sorry. ELLIE I'm not saying it's your fault. More silence. MIKE What did you do tonight? ELLIE I watched TV. MIKE What did you watch? ELLIE I don't remember Michael, go to sleep. You don't have to make conversation with me. She snuggles up to him. ELLIE I'll make a reservation tomorrow for early dinner. You can sleep till noon. CUT TO: INT. BROOKLYN RESTAURANT - EVENING THE LIGHTS of New York beginning to sparkle against a darkening sky; MIKE and ELLIE at a table that looks out on the East River. It's an OK restaurant, not the poshest in the world. ELLIE finds herself carrying most of the conversation. They scan menus to order. ELLIE Hey, we qualify for the Senior Citizens Early-Bird Special... Did you see Tommy today? He misses you... MIKE Well. This'll be over soon. Venza's such a nut job, we're bound to pick him up soon. ELLIE (carefully) I'd like you to switch to the day shift, Mike. To be home for dinner. Helen insists that T.J. be home for dinner... That's why he's on the morning shift. MIKE Well, T.J.'s... seniority... and all. (evasive) I'll talk to Garber about it. ELLIE (girds herself) I already did. I mean, I talked to his wife, and she talked to him... MIKE (stopped) You talked to his wife? CLOSE ON MIKE: incredulous. MIKE My wife talks to his wife about what shift I'm gonna take? ELLIE What's the difference? MIKE is nonplused; not knowing how to respond. ELLIE Unless there's some particular reason why it feels better to be around her at night. He shakes his head, dismissively. ELLIE Is there, Mike? No response; MIKE having trouble with it. CLOSE ON ELLIE: sensing deception. Her eyes begin to glisten. CLOSE ON MIKE: seeing her distress. Unable to hide his own. She looks at him -- and knowing him as well as she does, is certain. She puts a hand in front of her mouth in an attempt not to cry. ELLIE What, what is it? Is it serious or what...? Quit looking at me like that! What's with this ridiculous silence?! Her eyes flush with tears. ELLIE Goddamn. I never thought this would happen to me... you fuckin' sonofabitch... She UPSETS her SETTING, GETTING UP from the TABLE, shaking him off. ELLIE I just want you off the case. Get off it, or don't come home. (her voice trembling) And I want you to remember... when we're old... that when this awful thing happened... I behaved like a lady. (embittered) The kind of "lady" you apparently prefer. WAITER (approaching) We got some specials. She BOLTS from the room; MIKE following her. MIKE (to the waiter) We'll be right back. CUT TO: EXT. RESTAURANT - PARKING LOT - NIGHT She weaves toward the car. MIKE goes after her. MIKE Let me drive... ELLIE Get away from me... get away! She means that much to you, you stay with her. But you come back, you come back for me. Not for Tommy, not for your mother, or your fucking job, but for me. MIKE (tortured) El? I'm sorry. I do love you. (with difficulty) And you are a lady. I have so much respect... She TURNS and SWINGS AT HIM, catching him SQUARE IN THE NOSE; he's stunned and bleeding. ELLIE (through her tears; screaming) You fucker! Don't tell me how much respect you have! You dumb mother fucking FUCKER! Now get off this case or don't come home!! She RUNS to her car, BURNING RUBBER as she PEELS out of the PARKING LOT -- leaving MIKE, distraught, gazing after her. CUT TO: EXT. PHONE BOOTH - BROOKLYN BRIDGE - SAME - EVENING TRAFFIC ROARING BY -- revealing MIKE, upset, on a pay phone, a finger in one ear, waiting for the phone to answer. MIKE Hey, T.J.? Yeah, listen, I need a huge favor from you, man. I know Helen doesn't like you to miss dinner, but I need you to switch shifts with me tonight. (a beat) Just "personal". I don't know what the hell I'm doin', I need some time to think. (angered) Look, do it or don't do it, but spare me the fuckin' lecture, all right? He HANGS UP: miserable. CUT TO: EXT. CLAIRE'S BUILDING - EVENING A SQUAD CAR parked in front, CAMERA PANNING to the DOORS, as the JOGGER (MR. SPARKS) EXITS, dressed in his usual outfit, POUNDING DETERMINEDLY across the street. ANOTHER ANGLE: as he LOPES INTO THE PARK. ANOTHER ANGLE: as he REACHES a STOPLIGHT CROSSING that's "RED"; he waits to cross, jogging in place; crosses into the park. A sinister lone black LIMO approaches, slowing to a stop behind him, its back door slowly swinging open, engulfing our sight of him... CUT TO: EXT. CLAIRE'S BUILDING - LATER The "JOGGER" returning, obscuring his identity from the parked PATROL CAR, by wiping his face with a towel. Before heading to the door, where a DOORMAN stands guard, he delays as though WAITING FOR SOMETHING. It's happening: A dainty teenage VIETNAMESE GIRL, distracts the DOORMAN at his post, getting enough of his attention SELLING FLOWERS, and SPOUTING VIETNAMESE, for the "JOGGER" to SLIP BY, making it inside. DOORMAN I know sweetheart... we have enough flowers here. ANGLE: VIETNAMESE GIRL, still spouting. DOORMAN No, no, sweetheart... not here... get going... Okay. ANGLE: VIETNAMESE GIRL, backing off, seeing the JOGGER slip by and her mission accomplished. VIETNAMESE GIRL (sweetly, to Doorman) Have a nice day. THE GIRL: slyly cursing the DOORMAN in Vietnamese as she skips off. CUT TO: INT. BUILDING LOBBY - SAME The "JOGGER," his face still obscured by the towel waits for the elevator, as T.J., arriving, ENTERS the building. They both enter the elevator in silence. ANGLE on T.J. glancing at the JOGGER quizzically. The JOGGER avoids his stare, CAMERA TILTING UP to the indicator, beginning to rise. CUT TO: INT. SPARKS' VESTIBULE CLOSE ON "JOGGER'S" key, entering the LOCK. IT TURNS. CLOSE ON HIS FACE. He ENTERS. CUT TO: INT. SPARKS' APARTMENT - SAME As the killer closes the door. He's in the kitchen. All is quiet in there. IN CLOSEUPS, WE SEE his JOGGING SHIRT coming off, revealing a shoulder holster; a specially designed "belt" removed and laid on the kitchen table. A "SILENCER" within. CUT TO: INT. CLAIRE'S KITCHEN - EVENING CLAIRE eagerly and earnestly preparing dinner. She makes some fluffs, not really used to this. CLASSICAL MUSIC plays. She looks up expectantly, hearing the FOOTSTEPS. CLOSE ON CLAIRE: surprised to see it's T.J. T.J. Detective Keegan is... Mike... "Michael" asked me to tell you he's under the weather. CLAIRE: She handles it, crestfallen. T.J. He'll probably take the morning shift. CLAIRE He's okay? T.J. spots, over his shoulder, the table, set for two. T.J. Yeah, just... bad gut. Y'know. CLAIRE Oh. Nothing left to say; she hides her disappointment with a nod. CUT TO: EXT. CITY STREET - FIFTH AVENUE - NIGHT Active with nightlife; CAMERA PANNING to a lone figure walking in the night. It's MIKE; his collar turned up against the cold, his face grim and pensive. He passes an art gallery and PAUSES to gaze in, his eyes refocusing on his own reflection staring back at him. CUT TO: INT. CLAIRE'S APARTMENT - SAME - NIGHT CLAIRE immobile, on a window seat in her LIVING ROOM, the CLASSICAL MUSIC still playing softly in the background, her eyes empty as she gazes out into the park. THE MUSIC CONTINUES OVER: CUT TO: EXT. CENTRAL PARK - NIGHT Outside and far below, the GLOW from the tip of a CIGARETTE REDDENS the darkness with an inhalation. VENZA: He stands, impervious to the cold, looking up at the windows of CLAIRE'S apartment. ANGLE UP TO CLAIRE: SILHOUETTED in the distant window. VENZA: finishes his butt, flicks it, satisfied, getting into HIS CAR curbside and driving away. CUT TO: INT. CLAIRE'S VESTIBULE - NIGHT T.J., DOZING as the ELEVATOR INDICATOR HEADS UPWARD -- finally reaching our FLOOR. The DOORS OPEN, STARTLING T.J. He stares at MIKE with DISMAY. MUSIC IS HEARD from just inside. T.J. (fatigued) Tell me I'm dreamin'. MIKE I just gotta talk to her, T.J. MIKE ENTERS, closing the doors behind

playing

How many times the word 'playing' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

rigid

How many times the word 'rigid' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

confirmation

How many times the word 'confirmation' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

studying

How many times the word 'studying' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

mister

How many times the word 'mister' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

would;--though

How many times the word 'would;--though' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

vessel

How many times the word 'vessel' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

tradesman

How many times the word 'tradesman' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

navigators

How many times the word 'navigators' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

should

How many times the word 'should' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

my

How many times the word 'my' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

moves

How many times the word 'moves' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

young

How many times the word 'young' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

hesitate

How many times the word 'hesitate' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

reprovingly

How many times the word 'reprovingly' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

viewed

How many times the word 'viewed' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

nurse

How many times the word 'nurse' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

no

How many times the word 'no' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

food

How many times the word 'food' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

generating

How many times the word 'generating' appears in the text?

(into intercom) Starfleet, override us! OVERRIDE...! Yank them back! Suddenly, from Rand's console,a VIOLENT GLARE -- a PROTESTING SOUND from the circuitry. And on the con- sole a red-warning light now begins flashing. STARFLEET VOICE Unable to retrieve their pattern, Enterprise....! Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con- trols. Kirk ENTERS fast, steps to the console to assist Rand; Scott has also come in and moves to the console, brushes aside the Asst. Chief, and begins manipulating the additional controls himself. SCOTT We're losing the pattern...! KIRK (into intercom) Starfleet, boost your matter gain; we need more signal! RAND Oh, no! They're forming! 77 CLOSER ON THE TRANSPORTER CHAMBER (O) 77 with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We RECOGNIZE one form as the Vulcan, Sonak -- the other a human WOMAN. They MATERIALIZE; we HEAR A MOAN form from the Vulcan -- the Woman's SCREAM OF PAIN. Then, all at once, the half-materialized bodies are gone; the transporter chamber is empty. KIRK Oh, my God...! 78 KIRK, SCOTT AND RAND 78 gazing, horrified, at the empty chamber. KIRK (into intercom) Starfleet, do you have them? A mutter of utter, vacant silence -- and Kirk and Scott look at each other again, their pained faces presaging the answer they already know: STARFLEET VOICE (shaken) Enterprise... what we got back didn't live long. Fortunately. Another moment of stunned silence, and then Kirk hits the transmission button -- fighting to control his voice as: KIRK Starfleet... Kirk. Please... express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. (see Rand's stricken expression) There was nothing you could have done, Rand. It wasn't your fault. And before Rand can answer, Kirk leaves the room. 79 INT. CORRIDOR - TRAVELING WITH KIRK 79 as Kirk steps out, and the doors snap closed behind him. In the corridor the furor of the hurried depar- ture is, as everywhere, quite evident: CREW MEMBERS move back and forth. But Kirk does not see them; his mind is tormented by the transporter accident -- was there something he should have done, could have done, to prevent it? Should he launch on schedule with the starship this unready? Has he done right in yielding to this terrible needs for starship command again, forcing Starfleet to give her to him? Would Decker's knowledge of the new design have prevented the acci- dent? Kirk reaches a corridor intersection, looks around, realizes he's lost track of where he is. A passing YEOMAN stops in response to his puzzled expression. KIRK Turboshaft eight...? YEOMAN Back that way, sir. She's indicating back the direction from which Kirk came. He nods his thanks, turns and moves back down the corridor. 80 DECKER 80 hurrying down the corridor. The two face each other a silent moment, Decker studying Kirk curiously. KIRK We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible... DECKER None available, Captain. There's no one in fact, who's fully rated on this design. KIRK You are, Mister Decker. I'm afraid you'll have to double as Science Officer. And Kirk moves on, Decker stands gazing reflectively after him. 81 OMITTED 81 - - 84 84 85 CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED 85 (AS SEEN ON VIEWER) (O) (in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print- out interpretation appearing at the screen bottom. The Klingon ship nearly totaled; one engine nacelle gone, smoke and flame spewing from the other, etc. And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP, etc.) But this time, O.S., we HEAR GASPS of incredulity from many throats (an audience), and various AD LIBBED com- ments: "My God...!" "I don't believe it...!" "What could it be...?" Etc., etc. And then, immediately following this, on the viewer: 86 THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O) 86 (as in earlier Epsilon 9 viewer -- but with no music, only more AD LIBBED exclamations from an audience.) The viewer goes blank. 87 INT. RECREATION DECK (M) 87 We SEE that all this was being viewed by the CREW MEMBERS (Aliens included) assembled on the Rec Deck. The Recreation Deck is one of the largest areas on the ship, several deck levels high, a part of one wall consisting of picture windows, through which can be seen sections of the drydock structure outside. On another wall is a large viewer, on which was just shown the Klingon transmission. Leading off and away from this deck area are what are obviously other specific recreation areas -- gymnasiums, food centers, game rooms, lounges, etc. 88 ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL 88 as the Crew Members chat in low, grim tones -- Kirk (now with Captain's stripes) appears. As he comes into view, the two hundred or so crew below go silent. Kirk grimly indicates the now blank viewer: KIRK That's all we know about it; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way. 89 ANOTHER ANGLE - CREW REACTIONS 89 as the CAMERA FINDS various faces: human, alien; most young, all intelligent, forthright -- anxious. Kirk has paused a moment, now continues. KIRK (O.S.) We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate; and take whatever action is necessary... and possible. (beat) ...We can only hope that the life form aboard that vessel reasons as we do. 90 ANGLE ON UHURA 90 standing near an intercom, which just then has emitted a bosun's WHISTLE intercom signal. BRIDGE VOICE (from intercom) Bridge to Captain. Priority signal from Epsilon Nine -- Kirk leans over to the intercom, speaks into it: KIRK Put it on the viewer here...! 91 ON THE REC DECK VIEWER (O) 91 as all eyes turn to the viewer which fades into a view of Commander Branch, in the Epsilon 9 monitor room. Branch is tense, reflecting extreme urgency. Near Branch, working intently at the console are the Female Lieutenant and a Technician. BRANCH (from the viewer; checking console readings) Enterprise... the Cloud is definitely a powerfield of some kind... Measures... My God! Over 82 A.U.'s in diameter... Must be something incredible inside there generating it. (looks up from console) We're transmitting linguacode friendship messages on all frequencies. No response. TECHNICIAN I have a null reading at the center of the 'cloud,' sir. LIEUTENANT Definitely something inside.. there but all scans are being reflected back. (studies readings) Receiving an odd pattern now.. (toward Branch) They seem to be reacting to our scans, sir. BRANCH (inspecting another console) Some kind of energy surge... (looking up) Enterprise... they could be mistaking our scans as a hostile act... (reacts at readings) Deflectors, emergency full! Branch hits an alarm button; we HEAR ALARM KLAXON SOUNDING. The viewer IMAGE DISTORTS, clears again while Branch -- facing his viewer, continues urgently: BRANCH (continuing) We are under attack...! KIRK (to Uhura) External view...! 92 ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O) 92 as the image of Branch is immediately replaced by an external view of the plantoid, and the LUMINESCENT CLOUD (at about the same distance from which the Klingon cruisers were attacked). Then it STRIKES the plantoid WITH FULL, CATACLYSMIC FORCE. The viewer IMAGE BREAKS UP -- and immediately the entire Starfleet base becomes a maelstrom of FLAR- ING ENERGY, shattered structure, flying debris. And then, all at once, there is nothing -- empty space, Epsilon 9 is gone. We SEE only the stars; and the mysterious LUMINESCENT CLOUD moving across the distant sky. (NOTE: The above is entirely SILENT, and when it is finished, not a word is spoken.) KIRK (O.S.) Viewer off. 93 ANOTHER ANGLE - KIRK 93 as the viewer goes blank, all still facing the screen. Then Kirk turns to the room as if to comment. Then he stops -- nothing he can say will add at all to what they've just seen. Instead: KIRK Pre-launch countdown will commence in forty minutes. 94 ANOTHER ANGLE - CREW 94 The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit- ing. The bridge crew follows him out. Not a word is said as the remainder of the crew waits another moment, then begins to disperse toward their duty stations too. 95 EXT. THE ENTERPRISE IN DRYDOCK (S) 95 Spectacular ORBIT VIEW of the giant starship in the process of release. BEYOND US, in half light, EARTH LOOMS HUGE. The dock welders are gone; the supply pods float away from the ship. Little tongues of blue flame spurt from the ship's maneuvering jets. 96 CLOSER - ON ENTERPRISE (S) 96 as the large dock umbilical is released, floats free of its starship attachment. Dock departure is imminent. 97 INT. BRIDGE 97 Kirk in the center seat, intently studying the Naviga- tion console in front of him (at the Navigator's station, which is unoccupied.) Other bridge personnel are busy with their pre-launch duties. UHURA Transporters Room and Chief Engineer Scott report trans- porter system fully repaired and now functioning normally, sir. SULU Dock signals clear, Captain. KIRK Rely we are holding position awaiting final crew replacements. UHURA Captain, Transporter Personnel reports the Navigator... (consults console) ... Lieutenant Junior Grade Ilia (Eye-lee-ah) is already aboard, and en route to the bridge. 98 ANGLE ON DECKER - AT THE SCIENCE STATION 98 as Decker (now wearing Commander stripes) reacts, almost startled, and Uhura continues: UHURA She's a Deltan. Uhura's tone and expression convey "Deltan" in a certain, special manner. KIRK (reprovingly) And there are no finer navigators in Starfleet, Commander. The last is interrupted by: 98A ANGLE ON THE ELEVATOR DOORS 98A as they snap open, and there emerges a breathtakingly beautiful young woman (uniformed as a Navigator Lieu- tenant) who strides purposefully onto the bridge. A stunning figure, but hairless, entirely bald but or delicate eyebrows and eyelashes. Her bald head is not at all unattractive, in fact exudes an aura of sensual nudity. Indeed, her whole being exudes sensuality. (This is a racial characteristic, not a deliberate presence.) She approaches Kirk (NOTE: Throughout this sequence, Sulu eyes ILIA with unrestrained admiration.) ILIA Lieutenant Ilia reporting for duty, sir. KIRK (formally; rising) Welcome aboard, Lieutenant. 99 ACROSS ILIA TO DECKER 99 as Ilia starts to speak, suddenly stops: she has just then noticed Decker, who has stepped from his station to face her. For an electronic moment their eyes meet, hold in unquestioned recognition. DECKER Hello, Ilia. ILIA (surprised) Decker....! Kirk has observed this with surprise and some concern (it presages possible complications). Decker turns to Kirk, slightly uncomfortable at this. DECKER I was stationed on the Lieutenant's home planet some years ago... Ilia looks from Kirk back to Decker, puzzled at his sleeve stripes. ILIA (eyes his rank stripes) 'Commander' Decker? KIRK Our Exec and Science Officer... DECKER (bitingly) Captain Kirk has the utmost confidence in me. Kirk flashes a hard glance at Decker, then toward Ilia too. KIRK (pointedly) And in you, too, Lieutenant. ILIA My oath of celibacy is on record Captain. May I assume my duties? While respectful, her tone of voice has been just as firm as Kirk's. KIRK By all means. 100 ACROSS KIRK TO UHURA 100 receiving a message, now relaying it. UHURA Captain, Starfleet reports our last six crew members ready to beam up... (puzzled) ... but one of them is refusing to step into the transporter. Just as Kirk a moment before was tense, now suddenly he's relaxed again; he rises. KIRK (pleased) Oh? I'll see that he beams up...! And he hurries from the bridge, onto the elevator, is gone. A moment of puzzled silence, then: DECKER Mr. Sulu, take Lieutenant Ilia in hand. SULU (startled) Sir...? (then understands) Yes, of course... (to Ilia) Your pre-programming is already set in, Lieutenant. Sulu has almost tripped getting out of his chair. He starts offering Ilia his hand, then thinks better of it, withdraws it abruptly, immediately busies himself punching out equations on her console... AD LIBS, "It's all on the computer. You'll have no problem..." Sulu is nervous, fluttery around this lovely creature -- now hits a wrong switch. Produces a BEEPING SOUND which he fumbles to shut off. She smiles; speaks quietly, repeats: ILIA I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female. Sulu catches her eye but before he can reply, Decker has moved in beside Ilia. DECKER I now the Captain meant no person- al insult. ILIA (eyes on console) I would never take advantage of a sexually immature species. (looks at him) You can assure him that's true, can't you? Clearly, the remark carries special, personal significance. 101 INT. TRANSPORTER ROOM 101 - - 102 102 Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber. Kirk calls through intercom to the last arrival, a young female Yeoman. KIRK Yeoman, what was the problem down there? YEOMAN (through intercom) He insisted we go first, sir. Said something about first seeing how it scrambled our molecules. KIRK Thank you, Yeoman (hits transmit control) Starfleet , this is Captain Kirk. The officer is to be beamed up immediately! 103 ANGLE ON THE CHAMBER (O) 103 A moment, then again the GENERATING HUMMING, and then the familiar BEAMING EFFECT. And then you SEE McCOY! He fully MATERIALIZES. He looks himself over as if in pleased surprise he is still in one piece. CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav- ing a hard time containing his amusement and delight. KIRK Well, for a man who swore he'd never return to Starfleet... McCOY (flat, tight) What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known -- and seldom used -- reserve activation clause... (snaps) ... in simpler language, Captain, sir, they drafted me! KIRK (straight-faced) They didn't...! Kirk has offered his hand, but McCoy is already flaring: McCOY This was your idea! It was your idea, wasn't it! KIRK Bones, there's a 'thing' out there -- McCOY -- Why is any object we don't understand called a 'thing'? KIRK (continues) -- headed this way. I need you... McCOY Were you behind this? KIRK (nods) Bones, I need you badly. Kirk extends his hand again; McCoy delays some moments -- then finally responds. And once done, it is the long hand clasp of two old friends reunited despite their differences. Now McCoy turns to Rand. McCOY Permission to come aboard, sir? RAND (elated) Permission granted, sir! And McCoy moves toward the door, grumbling: McCOY I hear Chapel's an MD now; I need a top nurse, not a doctor who'll argue every diagnosis... And -- Even when he's in the corridor his grumbling trails after him. McCOY (continuing) ... they've probably redesigned sickbay, too. Engineers love to change things. 104 FULL ON KIRK 104 as he gazes fondly after the grumbling McCoy, and now turns to the intercom, flips it on: KIRK All decks, this is the Captain. Prepare or immediate departure. 105 INT. ENTERPRISE - MONTAGE DEPARTURE SCENES 105 - - 108 108 Bulkheads closing, feed lines disengaging, main ENGINES HUM into life, crew personnel hurrying to launch stations. SHOTS of cargo deck, down to Engineering Section slamming shut. Drydock area clearing, work lights go out, warning lights go on. 109 INT. BRIDGE 109 All flight positions manned, ready. UHURA Dock control reports ready, sir. SULU Helm ready, sir. ILIA Orbital departure on plot, sir. UHURA Yard command signaling clear, sir. KIRK Maneuvering thrusters, Mister Sulu. SULU Maneuvering thrusters, sir. KIRK Hold station. SULU (working controls) Thrusters at station-keeping, sir. 110 EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S) 110 The starship within the drydock, but now the maneuver- ing -- thrusters spurt pinpoints of BLUE-LAME. The drydock is ready for the starship's departure -- not a single pod or shuttlecraft in sight. The starship looms majestically within the lacework girders. 111 OMITTED 111 112 INT. BRIDGE 112 as Kirk hesitates just an instant, seems to hold his breath. Then: KIRK Thrusters ahead, Mister Sulu. Take us out. 113 EXT. EARTH ORBIT 113 The maneuvering -- thrusters spurt more BLUE FLAME. The Enterprise begins moving, DOMINATING SCREEN as it moves majestically from the drydock. THEME MUSIC IN AND UP. 114 CLOSER ANGLES - ENTERPRISE (S) 114 - - 117 117 emphasizing fine detail reality of both drydock and starship as saucer section emerges. Tiny space- suited human figures watch the departing ship. CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock. 117A INT. ENGINEERING SECTION 117A Here in Engineering Section, the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND. A glow from the central unit indicates anti-matter intermix underway. The Engineering Section shudders as the great engines draw more and more power. SCOTT Intermix set, Bridge, impulse power at your discretion. 118 INT. BRIDGE - FAVORING KIRK 118 as he hesitates just an instant. This is the moment he's awaited, and to him it is equally as sensuous and gratifying as making love -- which, perhaps, he is -- to his mistress: The Enterprise. KIRK (after a moment) Impulse power, Mr Sulu. Ahead Warp point-five. 119 EXT. THE ENTERPRISE (S) 119 The maneuvering jets turn off, the impulse drive glows. The Enterprise begins moving perceptibly faster -- behind her, the drydock diminishing rapidly in size. KIRK Departure angle on viewer. CHEKOV Departure angle. We SEE viewer IMAGE SWITCH to a departing view of lovely bluish, cloud-laced image of Earth as it grows smaller, smaller, dwindling quickly as the starship gathers speed. KIRK Viewer ahead. And viewer IMAGE SWITCHED to show the star patterned space ahead. 120 EXT. SPACE - SATURN 120 with its colorful rings and multiple moons FILLING a major portion of the FRAME. KIRK (V.O.) Captain's Log, stardate 7412.6. 2.7 hours from launch... 121 INT. BRIDGE - FAVORING THE VIEWER 121 All hands tense with the excitement of the journey, on the viewer Saturn -- and its rings -- are falling away (BEHIND US). OVER this: KIRK (V.O.) (concerned) ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system... End of log. 122 ANGLE ON DECKER - SCIENCE STATION 122 punching in equations on his console, reaching a reading: DECKER Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours. 122A INCLUDE ILIA 122A Checking her console. ILIA Science Officer's computations confirmed, sir. And Decker and Ilia glance at each other -- and again, you know there is something more than casual in this. 123 ANGLE ON THE ELEVATOR DOORS 123 as they open, and McCoy appears, walks over to Kirk who swings his chair around to face him. McCoy is his usual dour self. KIRK Well, Bones, do the new medical facilities meet with your approval? McCOY They do not. It's like working in a damned computer center. KIRK (turning to Decker) Programming ready? DECKER Program set for standard Warp entry, Captain... Kirk starts to swing his chair to normal position -- Decker calls: DECKER (continuing) ... but I still recommend further simulation study. KIRK Mister Decker; every minute brings that object nearer Earth! (using intercom) Engineering! Stand by for Warp Drive. McCoy is watching Kirk, a bit surprised at his abrupt- ness to Decker. SCOTT'S INTERCOM VOICE (worried) Captain, we need further Warp simulation on the flow sensors... KIRK Engineer, we need Warp speed now! McCOY (very gently) You're pushing Jim. Your people know their jobs. Kirk flashes McCoy a glance of annoyance -- then back to using intercom: 124 INT. ENGINEERING 124 The main intermix chambers GLOWING with power; the LOW RUMBLE of the main engines coming to life. The CAMERA FINDS Scott in the chamber: SCOTT (into intercom) Hold one minute, please, Captain -- He steps to his console where an ASST. ENGINEER is working a computer, studying the readouts, punching buttons, etc. Scott stands over him, grimly observ- ing. Finally, the Asst. simply shrugs with frustration. ASST. That's it, sir; I can't do any better. SCOTT (grim) Aye, lad... (into intercom) It's borderline on the simulator, Captain: I canna guarantee that she'll... 125 INT. BRIDGE 125 as Kirk, annoyed, interrupts Scott on the intercom. KIRK Warp Drive, Mr Scott. McCoy still watches curiously as Kirk turns to the helm: KIRK (continuing) Ahead Warp One, Mr Sulu. SULU Accelerating to Warp One, sir. Sulu moves his controls forward -- everyone waits tensely -- and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES. SULU (continuing) Warp point seven... point eight ... nine... 126 EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S) 126 We SEE the WARP POWER EFFECT build up between the en- gine "nacelles" -- then the starship makes the QUANTUM LEAP into warp drive. The stars ahead shift, streak, colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum -- and the stars congeal into a MASS ahead. 127 INT. BRIDGE - PAST KIRK TO THE VIEWER (O) 127 as the viewer shows the same WARP DRIVE EFFECT. or another moment all remain tense, and then all at once relax, release their breaths. Smiles. SULU Warp One, sir. Kirk smiles, pleased, starts swinging his chair around, at the same time calling: KIRK Mr. Decker -- Kirk never finishes the word. At that instant, on the viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles. A space trap, a deadly pandemonium of ALARM KLAXONS, BELLS, VOICES: KIRK (continuing) Wormhole!... Get us back on impulse power! Full reverse! 128 EXT. SPACE - THE ENTERPRISE (S) 128 Enterprise has been caught in a matter-time distortion, sucked into a cylindrical "hole in space" (the Worm- hole distortion), stars and planets become strange, elongated shapes, with the Enterprise drawn deeper and deeper into the vortex. 129 INT. BRIDGE 129 The KLAXONS and BELLS CONTINUE, and the crew responding: SULU Negative helm control, Captain! Going reverse on impulse power...! UHURA Subspace frequencies are jammed by Wormhole effect! COMPUTER VOICE (terse, flat) Collision alert...! Collision alert...! (Note: Computer alert continues through entire scene.) DECKER (consulting his viewer) Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub-light speed. ILIA Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead...! KIRK Forcefields up full! Put object on viewer...! 130 ANGLE ON THE MAIN VIEWER (O) 130 showing (a magnification view) of a tiny point of light directly ahead. Meanwhile, Kirk shouts an AD LIBBED order to Sulu: "Go to Manual override!" Sulu AD LIBS, "No manual response...!" (Through all this, McCoy stands frozen, waiting -- and expecting -- the worse.) Meanwhile, Ilia has reached over to Sulu's console, hits a button, AD LIBBING, "Navigational deflectors coming up...!" And then with alarmed dismay: ILIA Navigational deflectors inoperative...! (consulting her console, alarmed) Directional control also inoperative, Captain...! DECKER Wormhole distortion has over- loaded main power systems...! 131 CLOSE ON MAIN VIEWER (O) 131 The picture is switched through two further levels of magnification, enlarging the object: an elongated, distorted, pitted asteroid, tumbling toward the Enter- prise on a collision course. KIRK (toward Ilia) Time to impact...? ILIA Twelve seconds...! KIRK Mr. Chekov, stand by on the phasers...! DECKER (racing to Chekov's station) Delay that phaser order! Arm photon torpedoes...! 133 ANOTHER ANGLE - McCOY NOTICING KIRK 133 who has just glanced, surprised at Decker (for counter- manding the phaser order) -- and for a split instant, Kirk seems confused. McCoy reacts with enlightenment as, meanwhile: 134 ANOTHER ANGLE - THE VIEWER (O) 134 The object even larger. CHEKOV Photon torpedoes armed...! ILIA Object is an asteroid, reading mass point seven... (consulting instruments) Impact in eight seconds... seven... six... five... DECKER Fire torpedoes...! CHEKOV (punching button) Torpedoes away...! 135 EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S) 135 as the starship's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY, which seems to float toward the oncoming asteroid, almost too slowly. And in these brief seconds, the asteroid hurtles at the Enterprise, the huge pitted rock growing even larger than the ship itself. It FILLS THE SCREEN, as the photon torpedoes hit, disintegrating the asteroid into thousands of fragments. Instantly, these fragments pulverize them- selves on the ship's forward forcefield and deflector screens. The smaller pieces burn up on impact, clearly outlining the ship's forcefield barriers. 136 INT. BRIDGE - INCLUDING MAIN VIEWER (O) 136 The asteroid fragments still smashing into the force field screen; the smaller bits like SPARKLERS as im- pact heat consumes them. The larger sections bouncing away, the bridge QUIVERING as they hit. Then one final gigantic fragment strikes, the bridge SHUDDERS. And then the viewer shows only the normal SUB-WARP EFFECT: The stars ahead, relatively station- ary; a feeling of motion, but smooth, visually normal. CHEKOV (relieved) We're out of it...! DECKER We are at warp point eight. Position report, Navigator..? SULU Helm control restored, sir. ILIA Computing new interception course. UHURA Communications are normal, Captain. CHEKOV (to Kirk) Negative damage report, sir. (to McCoy) No casualties reported, sir. McCOY (tight) Wrong, Mr. Chekov, there are casualties. My wits! (to Kirk, indignant) As in 'frightened-out-of'...! DECKER (into intercom) Engineer... report status there. 137 INT. ENGINEERING 137 with Scott and his crew pouring over the instruments -- all seem very grim. Scott, quite preoccupied, now speaks into the intercom. SCOTT In just a second, Exec; we're picking up the pieces down here. 138 INT. BRIDGE 138 Kirk seeming to collect his thoughts now -- he gives Decker a look, uses the intercom himself: KIRK Warp Drive as soon as possible, Mr. Scott. SCOTT'S INTERCOM VOICE (protesting) Captain, it was our anti-matter imbalance that created the wormhole in the first place. It will happen again if we don't correct it. KIRK That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there! SCOTT'S INTERCOM VOICE (near annoyed) Aye, we understand that sir! We're doing our best. as Kirk flips off the intercom, rises determinedly, faces Decker: KIRK Mr. Decker, I'd like to see you in my quarters. (toward helm) You have the conn, Mr. Sulu. McCOY (to Kirk) Mind if I tag along? Kirk gives McCoy an annoyed look, then strides to the elevator. Decker, grim, follows -- McCoy brings up the rear as they EXIT. 139 ANGLE FAVORING ILIA 139 gazing worriedly at the just-closed elevator doors, as Sulu is punching figures into his console. SULU Maintaining warp point eight; I show our new heading as 287 point three Mark 105. Ilia's attention is directed toward Decker. SULU (continuing; gently reminding) Lieutenant Ilia...? ILIA (a beat; then quickly) Confirmed, Mr. Sulu. Confirmed. And she punches in some equations, then again peers up at the doors where she last saw Decker. She is very concerned. 140 INT. KIRK'S QUARTERS 140 The doors opening, Kirk entering, McCoy moves to b.g. while Decker stands attentively, waiting as Kirk turns to him. KIRK Explanation, Mr. Decker: Why was my phaser order countermanded? DECKER (cool, polite) Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. Kirk is surprised by this information, perhaps slight- ly chagrined. After a beat: KIRK Then you acted properly, of course. DECKER Thank you, sir. I'm sorry I embar- rassed you. KIRK You saved the ship. DECKER (coolly) I'm aware of that, sir. KIRK (flaring) Stop competing with me, Decker! DECKER Permission to speak freely, sir? KIRK (tight) Granted. DECKER Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design -- in my opinion, sir, seriously jeopardizes our mission. Kirk reacts with anger. Struggles for and regains control. KIRK I trust you will... nursemaid me through these difficulties, Mister? DECKER Yes, sir, I'll do that. Kirk peers at Decker, who stands facing him determinedly. KIRK Then I won't keep you from your duties any longer, Commander. (whirling at McCoy) Yes, Doctor? Kirk's last line has drowned out Decker's "Aye, sir." McCoy says nothing, waits until Decker is gone and the door closes behind him. Then: McCOY He may not be wrong, Jim. 141 OMITTED 141 - - 142 142 143 INT. CORRIDOR 143 Decker moving toward an elevator -- the elevator doors open, and there is Ilia. She steps out, faces him. ILIA Was he difficult? DECKER No more than I expected (hesitates) Not as difficult as this. I'm sorry... ILIA That you left? or that you didn't say 'goodbye'? DECKER If I'd seen you again, would you have been able to say it? ILIA (long hesitation; then shakes head) No. Ilia whirls, moves toward her stateroom door, which snaps open, then closes behind her. Decker stands gazing at the door, remembering, regretful. 144 OMITTED 144 144A INT. KIRK'S CABIN - KIRK AND McCOY 144A KIRK Get out of here, Bones. McCOY (shakes head) As ship's doctor, I am now discussing the subject of command fitness. Kirk's expression hardens. KIRK Make your point, Doctor. McCOY The point, Captain, is that it's you who's competing... (a beat, as Kirk reacts) You pulled every string in the book short of blackmail to get the Enterprise -- maybe even that. And when this mission is over, you have no intention of giving her back. KIRK (tight)

system

How many times the word 'system' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

lot

How many times the word 'lot' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

shirt

How many times the word 'shirt' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

suitcase

How many times the word 'suitcase' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

mountain

How many times the word 'mountain' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

guy

How many times the word 'guy' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

lambing

How many times the word 'lambing' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

locked

How many times the word 'locked' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

sleeps

How many times the word 'sleeps' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

picks

How many times the word 'picks' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

inside

How many times the word 'inside' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

bridges

How many times the word 'bridges' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

nods

How many times the word 'nods' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

water

How many times the word 'water' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

wearing

How many times the word 'wearing' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

mark

How many times the word 'mark' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

reads

How many times the word 'reads' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

arranged

How many times the word 'arranged' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

tense

How many times the word 'tense' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

offence

How many times the word 'offence' appears in the text?

- DAY Bitsey opens the door. Zack's in the passenger seat. She doesn't bother to sit. BITSEY Did you see the cowboy go in? ZACK He went in Belyeu's building? BITSEY Into his office. Just saw him. ZACK Fuck! BITSEY Follow him. Find out who he is, where he lives -- what he -- ZACK How are you gonna get to Ellis? BITSEY A taxi. Zack makes a face. EXT. ELLIS UNIT DRIVE - DAY A taxi makes its way through the hundreds of protesters and press that now gather along the drive. INT. ELLIS VISITATION AREA - DAY Bitsey, wet and hugging herself, paces in front of David. She's upset. DAVID Okay, okay. Calm down. You have to sit. Over the loudspeaker: GUARD (V.O.) Visitors need to stay seated. She sits. DAVID (to the microphone above) Sorry. (to Bitsey) Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a 'bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. 'Almost martyrs don't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her. BITSEY Then why was he following us? Why was he at Belyeu and Crane? DAVID He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you. BITSEY Why? A beat. David looks up at the microphone. DAVID To make sure you honored your agreement, one for which there's no contract. BITSEY He would've said something. DAVID He's a lawyer, Ms. Bloom. BITSEY Maybe Dusty was jealous because you were seeing Constance. DAVID I wasn't 'seeing' Constance. BITSEY She died... she had your sperm -- DAVID It's more complicated than that. TWO SHOT Rotates. DISSOLVE TO: WHITE. DISSOLVE TO: EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA) David sits in a lawn chair beside his Volvo. The tailgate's down, serving as a makeshift table for a coffee thermos and whiskey bottle. David stares off down the alley, clearly in pain. He holds a child's drawing. INSERT - DRAWING Has Gaudi's church and a matador in background. Prominent in the foreground are three labeled figures: Sharon ("Mommy"), Chase ("Me") and a dark-haired man ("Papa Jorge"). Jorge is dressed in a tux, Sharon seems to wear a bridal gown. INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09) The atmosphere is tense. Dusty Wright sits on a deskholding a red Magic Marker, the matron sits behind it. They look at the college guy, who closely watches a computer screen. In the center of the room, a middle-aged priest sits and quietly prays while holding the hands of an overweight woman, she murmurs quiet affirmations. Finally, the college guy looks up at Dusty, nods. The room's occupants all exchange glances. Dusty walks to the photo wall, marks a cross through the photo of Jo Ann Johnson, then walks to the back office. INT. BACK OFFICE - SUNRISE Constance, wrapped in an afghan, sleeps on a futon. She's shockingly anemic. Dusty kneels beside her, watches her sleep. After a beat, she wakes with a slight jolt -- like someone whose been fighting to stay awake. She looks at him, then sees the marker in his hand. She looks away. CONSTANCE All I can feel is envy. Dusty stands, goes to the alley window. DUSTY'S POV David's Volvo is parked just outside the window. David sits in a lawn chair behind it. David looks awful. EXT. ALLEY - SUNRISE In the window, Dusty holds up the marker. David nods. EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK David sits on the porch holding a drink, a bottle of Black Bush in the chair beside him. He's staring at nothing. Constance comes out the open sliding glass door, wearing a turtleneck sweater and wrapped in her afghan. She goes to the chair beside him, picks up the bottle and sits. They silently survey the yard, the sunset. She hugs the bottle, he sips his drink. CONSTANCE Remember those Kubler-Ross stages, the ones the dying go through? DAVID Denial, anger, bargaining, depression, and acceptance. Where are you? CONSTANCE Denial. DAVID Denial's my personal favorite. CONSTANCE The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment. DAVID Mending bridges. CONSTANCE Mending bridges. Confessing regrets. Uuuggh. DAVID No regrets? CONSTANCE Nope. A beat. CONSTANCE Take that back. I wish I had a child. DAVID Me, too. CONSTANCE I'm sorry, David. She reaches over and puts her hand on his arm. CONSTANCE I guess I just wish I would have risked more. She has the bottle in her other hand, looks at it, takes a swig. CONSTANCE (making a face, swallowing hard) Uumm, also not enough sex. Should have had more sex. She puts the bottle down beside her chair. DAVID How much... how many lovers have you had? CONSTANCE Including college? DAVID Including college. Her hand (on his arm) holds up four fingers. DAVID Well, it's... not every... yeah, you should have had more sex. She laughs, coughs. He laughs. Their laughter trails off into the yard. He takes her hand in his. CONSTANCE You work hard not to be seen as a sex object. Before long, you're not seen at all. DAVID I see you. They are holding hands in the air, their elbows on the chairs' armrests. DAVID Want to make it five? Finish the hand? CONSTANCE A pity lay. No thanks. A beat. They watch their fingers lightly play with one another. DAVID It wouldn't be pity. They turn, their eyes meet, hold. INT. CONSTANCE'S BEDROOM - NIGHT Constance and David are in bed making love. He's on top, one hand supports her head, the other strokes her face. They tenderly kiss. He starts moving, gently. DAVID Are you okay? CONSTANCE Don't worry. He kisses her neck. CONSTANCE It's good. Moves up to her ear. CONSTANCE Talk to me. Let me hear your voice. DAVID (in her ear) I'm here. Happy. I'm very happy. He kisses her mouth, moves against her in delicate rhythm. Her moans take on a teary edge. Their voices, breathless whispers, meld into one another. CONSTANCE Hold me tight. DAVID I'm here. CONSTANCE Tight... I'm scared. DAVID It's okay. She's begun to cry. DAVID Okay. He stops moving, kisses her tears. CONSTANCE Don't stop. Stay in me. Please stay in me. He moves again, slowly. DAVID Shhh. I'm staying. CONSTANCE I need to feel you inside. DAVID It's okay. I'm inside. I'm not pulling out. CONSTANCE I'm so tired. DAVID I know, I know. CONSTANCE Tired of being afraid. DAVID Shhh. CONSTANCE Help me. DAVID I'm here. It's okay. CONSTANCE Help me. Please. Make it stop. DAVID Shhh. I'm here. I'm here. EXT. CONSTANCE'S HOUSE (3307) - NIGHT The house is dark. A light in one of the rooms comes on. INT. CONSTANCE'S BEDROOM - DAY She's awake as David enters. He opens the curtains, sets a glass of water beside bottles on the nightstand. He crawls on top of the covers, spoons her, nuzzles the back of her head. CONSTANCE How do you feel about last night? DAVID Rescued. You? CONSTANCE Like I have a reason to get out of bed. Ironic, huh? EXT. CONVENIENCE STORE PARKING LOT - DAY David goes to the pay phone against the building. INT. CONSTANCE'S BATHROOM - DAY Constance stands in a bathrobe beside her shower. Turns the water on. She's caught in a thought, bites her lip. She turns the water off. EXT. APARTMENT POOL AREA - DAY David sits in a lounger speaking to someone on his right. He's sober. DAVID Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late- night angst: 'What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist? A beat. DAVID I can't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me. CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him. INT. CONSTANCE'S KITCHEN - DAY Constance, still in her robe, puts an armful of sheets in the washing machine. She feels faint. EXT. FORMER GALE HOUSE - BACK YARD - DAY David sits in a swing set, rocks slowly. He's simply looking at the house. A yuppie woman opens the back door. DAVID (standing) Sorry, just leaving. INT. CONSTANCE'S LIVING ROOM - DAY Constance is quickly sorting through a box of memorabilia, a photo catches her attention. INSERT - PHOTO Constance on vacation in a Caribbean resort. She sits alone at a dinner table, looks to camera, seems surprised to be photographed. BACK ON SCENE As Constance contemplates the photo, she hears the DOORBELL ring. EXT. LAWN - FROM ABOVE - DAY We see David lying in the grass of recently-cut lawn. INT. DAVID'S VOLVO - DUSK David in the car in a mall parking lot, staring at nothing. On the seat beside him is Cloud Dog and a half empty Black Bush bottle. INT. DAVID'S VOLVO - NIGHT David's asleep, using Cloud Dog as a pillow. The bottle is empty. A light flashes in on him, waking him. There's a KNOCK on the window -- it's the police. He's blinded by the flashlight. POLICEMAN ROTATING CAMERA. The policeman holds the light. POLICEMAN (V.O.) (a loudspeaker voice) Gale, time's up. DISSOLVE TO: WHITE. DISSOLVE TO: INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY ROTATING CAMERA. Bitsey's agitated. David's drained. BITSEY But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning. DAVID If I could answer... we wouldn't be having this conversation. It's why I need you, why I chose you. You have my story, now... (mimicking her delivery) 'Go.' BITSEY There's not enough time. The guard approaches. DAVID You'll find time. BITSEY You know that's not what I meant. You should have done this earlier. DAVID You're not here to save me. You're here to save my son's memory of his father -- that's all I want. A beat. BITSEY You're going to let them kill you. David moves to the back of the cage to be handcuffed. DAVID We live to stop death. Eating, inventing, loving, praying, fighting, killing -- choose a verb. All to stall this evil, Job's 'king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out-lives its obsessions, when your habits survive your dreams, when your losses... You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I don't know is why. (exits the cage) Goodbye, Bitsey. The guard escorts him away. When he's out of earshot: BITSEY (softly) Goodbye, David. EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY A guard hangs up a phone and leans out the door. GUARD Car's on its way. Wanna wait in here? Bitsey stands in the rain. Behind her, hundreds of protesters flank the drive. BITSEY No thanks. She turns and walks toward the highway. The parade tape has been replaced with crowd barriers. The drive's left side now overflows with abolitionists: They cluster beneath tarps, some sing hymns, others paint signs ("Don't kill with my taxes!", "Mark 6:10," "Murder doesn't Stop Murder!"). Beneath one umbrella stands a large black woman holding a candle -- she watches Bitsey. The right side is a media circus. Various pro-death penalty activists also cluster here. They too have prepared signs: "Rape and Suffocate Him!", "Thank Jesus for Justice," "'Let's Do it'." A blackboard keeps a countdown: "13 hours." At the end of the drive, on the left, Bitsey sees a sign leaning against a camper: "Save David Gale." It catches rain; its letters run. INT. KETTLE RESTAURANT - NIGHT The restaurant's crowded. A Church of Christ couple (50s) eat without comment. The man's T-shirt reads, "It's Simple: You Kill, You Get Killed." In the booth beside them sit Bitsey and Zack, their dinners largely untouched. Bitsey watches three sleazy JOURNALISTS at a table not far from theirs. JOURNALIST #1 I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And 'The David Gale Execution, brought to you by...' JOURNALIST #2 '...Hefty.' They find this hilarious. Bitsey looks away. BITSEY What time is it? ZACK (checking his watch) Nine hours, 52 minutes. A beat. EXT. MOTEL SIX PARKING LOT - NIGHT Pouring rain. As Bitsey and Zack hurry toward their rooms, they see Belyeu getting out of his Cadillac. He carries Bitsey's umbrella and opens his own. BITSEY Belyeu! He turns, comes toward them. Bitsey holds a newspaper over her head, Zack slouches. BITSEY Did you have Dusty Wright follow us? BELYEU I employ Mr. Wright from time to time. BITSEY You could have said something. BELYEU (opening her umbrella) That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious. (handing it to her) Thought I'd return this. ZACK Any word on the writ? BELYEU Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact? BITSEY No. BELYEU What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room. BITSEY How's David? BELYEU Holdin' up. I'm headed back over. BITSEY Tell him I'll take care of it, about his son, I mean. BELYEU Will do. We'll talk later? She nods. BELYEU Watch yourselves. They turn from one another. Bitsey turns back. BITSEY (calling after him) Mr. Belyeu. He turns. BITSEY Were Dusty and Constance close? BELYEU Thick as thieves. Bitsey nods. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Dark. Bitsey and Zack sit on either side of the room's table looking out the window. Rain shadows run down their faces. The room phone is on the table, as is Zack's watch: 10:17. EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS INTERSTATE - NIGHT The rain's lightened up. The motel's full. Lights are on in ten of the motel rooms. The Kettle's lights go off, one after another. INT. BITSEY'S MOTEL SIX ROOM - NIGHT Zack sleeps at the end of one bed, fully dressed. Bitsey, lost in agitated thought, neatly packs a suit into her perfectly arranged suitcase. She stops, thinks. She goes to her purse and takes out the VHS cassette, a pen and a note pad. Hesitating a beat, she puts the tape in the VCR. She turns on the TV and waits for an image. EXT. MOTEL SIX - NIGHT Rain. All the rooms except Bitsey's are dark. From within comes a TV glow. INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S NOTEPAD - NIGHT She's sketched a flow-chart of the tape with major elements timed out. BITSEY has her shoes off, sits on the floor with her back against a bed. She's still watching the tape, tired, exasperated. Finally, she turns the TV OFF, rubs her eyes. She stands, looks at the radio alarm clock on the nightstand: 11:33. INT. BATHROOM - NIGHT Bitsey brushes her teeth. Looks down and sees a towel on the floor. Picks it up, starts to hang it on the towel rack, stops, looks at herself in the mirror. A beat. An idea hits her, first as something odd, then as a freight train. She spits, hurries into the bedroom. INT. BEDROOM - NIGHT BITSEY (putting on her shoes) Zack! Wake up! Get up! He starts to pull himself awake. BITSEY Did you throw the towel on the floor? ZACK What? BITSEY The towel on my bathroom floor. Did you put it there? ZACK Yeah, I guess. It's a hotel room. What -- BITSEY Do you do that at home? ZACK No. Fuck, Bitsey. I'm sorry, it's not like it's -- BITSEY Get up. She disconnects the VCR. ZACK (sitting up) What the fuck's wrong with you? BITSEY Grab the T.V. I want to check something. ZACK What? BITSEY We're taking a tour. ZACK Where? She has the VCR. Grabs her purse on the way to the door. BITSEY Austin. Get the T.V. She opens the door, exits. INT. HOUSE 3307 ENTRY HALL - NIGHT The DOORBELL RINGS over BAUHAUS MUSIC. The Goth Girl, wearing only the Nine Inch Nails T-shirt, opens the door. Bitsey barrages past carrying the VCR, Zack follows with the TV. BITSEY Wanna make a hundred bucks? GOTH GIRL What do I gotta do? INT. HOUSE 3307 LIVING ROOM - NIGHT Bitsey, Zack and the Goth girl enter. BITSEY We're going over the crime scene. Bitsey checks the kitchen. The tripod's back. The other exhibit pieces haven't changed. BITSEY And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is 'May I swallow.' GOTH GIRL You want me to suck his dick? ZACK It's just a patriarchal figure of speech. BITSEY Is your boyfriend here? GOTH GIRL He ain't exactly my boyfriend anymore. BITSEY Well is his video camera here? GOTH GIRL Yeah. BITSEY Get it. She starts to leave, turns back. GOTH GIRL I gotta collect first. Bitsey, moaning, reaches for her purse. CLOSEUP - STEREO CLOCK reads 1:48. Zack's hand ENTERS the FRAME, turns the MUSIC DOWN. SAME SCENE - MINUTES LATER Video: The Goth Girl's messy kitchen. Camera zooms in to a perspective similar to that on the Constance tape. The exhibit pieces (kitchen gloves, handcuffs, tape roll) are more-or- less where they were before. The Goth Girl enters the frame, she's removing pizza boxes and laundry from the counter. ZACK (O.S.) Move those index cards, too. She picks up the index cards. Zack looks up from a video camera's eye piece. The camera is on the tripod, connected to the Goth Girl's TV. Near it, the hotel TV/VCR. Bitsey cues the Constance tape to the beginning, freezes the image. Zack then checks the camera angle on the Goth Girl's TV. He moves the TVs so that they are side-by- side. BITSEY Zoom in a hair. He does so. Bitsey compares perspectives between the left TV (Goth Girl cleaning) to the right TV (Constance). BITSEY Put the gloves on a dish rack. GOTH GIRL I don't have one. Zack goes to the sink, lays three pizza boxes on the counter as an ersatz dish rack -- he drapes the kitchen gloves over them. BITSEY Turn them inside out. He does so. BITSEY Move the tape roll about a foot to the left. And get rid of the handcuffs. Zack repositions the tape. The Goth Girl picks up the handcuffs. BITSEY Come check this, Zack. (to the Goth Girl) Could you... what's your name? GOTH GIRL Nico's cool. BITSEY Nico, lie down on the floor, facing the counter. Zack comes behind the tripod and looks at the TVs. NICO sits on the floor, starts to take off her T-shirt. ZACK We can imagine that part. (to Bitsey) I'll position her. He goes to Nico, arranges her in the position of Constance (which now bears no relation to the white outline on the floor). BITSEY That's fine. Just straighten her legs. Zack comes back behind the tripod. He and Bitsey look at the two TV images -- roughly the same. The Constance tape, however, shows what looks like a white towel in the lower right-hand corner. Bitsey points to it. BITSEY What's this? ZACK Towel or something. BITSEY Okay, look at this. She plays the tape of Constance for eight seconds. BITSEY I noticed this back at the hotel. See? Bitsey touches the TV screen by one of Constance's feet. The foot moves ever so slightly. She hits pause. BITSEY She moves her foot. Why? ZACK Fucking good question. BITSEY It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she wouldn't come back. There was no head trauma, her blood tested normal -- ZACK Jesus, maybe she was faking, hoping he would go away. BITSEY Or... Bitsey looks up at Nico. BITSEY We've got to bag her. ZACK Woa. Not a good idea. BITSEY All right, I'll do it. SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen. Bitsey and Zack stand by the sink. A white plastic bag is now on the sink counter; beside it, the roll of duct tape. NICO I found it. Nico hands Zack the key to the handcuffs. He tests them, then lays them on the counter. BITSEY (to Zack) Okay, I want you to wait three minutes before you take it off. ZACK Bitsey, I'm not so sure about this. BITSEY Three full minutes. Just stand behind the tripod. Both of you. Zack and Nico move behind the tripod. Bitsey puts the bag on her head, rips off a long length of tape. She seals the bag around her neck. She then handcuffs herself from behind, with some difficulty. CLOSEUP - KEY is on the sink counter while she does this. BITSEY (O.S.) (through the bag) Have you started? BACK TO SCENE ZACK Twenty-two seconds. Bitsey sits on the linoleum, then lies on her side. ZACK Thirty seconds. NICO Fuckin' wicked. Bitsey lies perfectly still. ZACK Thirty-five... Forty... Forty-five... Fifty. NICO Maybe she shouldn't... ZACK Fifty-five... one minute... five... ten... one-fifteen... Bitsey starts to pull slightly at the cuffs. ZACK Fuck. Twenty... twenty-five... thirty... NICO This isn't cool. ZACK ...thirty-five... Fuck... one-forty... one-forty fi... Bitsey panics, fights like hell against the cuffs. BITSEY (through the bag) Zack! Zack runs to her, knocking the tripod over. He rips the bag open. She sucks air. ZACK (ripping at the tape) Jesus fucking Christ, Bitsey. You okay? What if I'd've waited? She tries to catch her breath. Nico releases the handcuffs. ZACK No more fucking experiments, all right? Just tell me what's going on. You okay? Bitsey nods, holds up her hand, wants to say something. She takes his arm, looks at him. BITSEY (still breathing heavily) She... she did it herself. SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking. Nico sits on one of its armrests. Bitsey, full of adrenaline, paces in front of them, thinking out loud. BITSEY She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside -- like they were the first time we were here, like you do a towel in a hotel. ZACK Maybe, all right, maybe. (indicating the cuffs) But why wear these? BITSEY They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in. NICO Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails. BITSEY And she swallowed the key so she couldn't get to it. She made sure there was no way out. ZACK Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder? A beat. Bitsey contemplates. BITSEY It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod. ZACK Why, Bitsey? Why fake your own murder? BITSEY I don't know. ZACK Motive's like a major issue here. BITSEY Thanks, Zack. ZACK It doesn't make sense. The woman's a bleeding-heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -- BITSEY What'd you say? ZACK She had to know some innocent fuck would take the fall. BITSEY Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents. ZACK Get the fuck out of here. BITSEY No, that's how she thought. She lived for DeathWatch. If she's gonna die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out-take. ZACK A dead woman put the tape in your room? BITSEY Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause... They stare at each other a beat. The same thought: ZACK (mimicking Belyeu) Thick as thieves. INT. DUSTY WRIGHT'S CABIN - NIGHT Dusty looks up at a wall clock: 4:23. He sits fully dressed in his living room, listening to an OPERA. He closes his eyes. CAMERA PULLS BACK OUT of his window and into: EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT Behind a couple of trees near the woods' edge, Bitsey and Zack hide watching him. ZACK Hairy. BITSEY Come on. She turns back into the woods. EXT. DIRT ROAD - NIGHT Bitsey and Zack emerge from the woods near the rental car. They walk and speak quickly in the light rain. BITSEY ...Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But... ZACK She was in love with him. BITSEY I don't know. Something. They were close. She wouldn't want him dead. They come to the car, get in. INT. RENTAL CAR - NIGHT Bitsey drives. BITSEY Remember this thing about Dusty being a bull-horner, going to far? ZACK Why he was fired from DeathWatch, and the A.C.L.U. BITSEY Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last-minute save. ZACK Which would only prove the system works. BITSEY Yeah. Almost martyrs don't count. What's one murder to stop thousands? ZACK So he'll wait, release the whole tape after the execution. BITSEY Right. Somewhere he must have the original. What time is it? INT. WRIGHT'S CABIN - NIGHT The wall clock: 4:50. Dusty hears the PHONE RING over a BARITONE'S ARIA. He turns the MUSIC DOWN, and picks up. DUSTY Hello? EXT. GAS STATION - NIGHT The gas station is old, isolated on a country road. Closed, dark. By the road, a single light pole illuminates the area -- its light catching the drizzle. Directly beneath the pole is a phone booth, where Bitsey waits by the rental car. INT. PHONE BOOTH - NIGHT Zack is on the phone with the booth door open. Bitsey stands just outside. ZACK Let's talk about your tape... No, meet me at the station down the hill, in fifteen minutes. Zack hangs up before Dusty can respond. He stops out of the booth and gives Bitsey a tentative look. INT. WRIGHT'S CABIN - NIGHT Dusty hangs up, thinks. EXT. GAS STATION - NIGHT Bitsey sits in the car's driver seat. Zack stands by the booth. BITSEY Don't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -- ZACK I know. Go. BITSEY (pulling away) Into the woods, Zack. ZACK Go! EXT. WRIGHT CABIN - NIGHT Bitsey is in the woods, watches Dusty pull away in the pickup. She hurries to the front door, enters. INT. WRIGHT CABIN - NIGHT Bitsey turns on the lights and begins searching. She sees 11 videos on a bookshelf. Some are labeled, three aren't. She takes the cassettes to the TV/VCR. Puts one in (her hands are wet). Nothing. She searches for the right AV channel. INT. PHONE BOOTH - NIGHT Zack anxiously waits. His eyes check the road. INT. WRIGHT CABIN - NIGHT Bitsey has a picture, but the tape is an old TV western. She starts to fast forward, realizes she won't be able to do so with each tape, hits eject. She checks the clock: 5:04. She takes another unlabeled tape. It's a home video of a city council meeting. BITSEY (hitting eject) Shit! She grabs the next unlabeled tape. EXT. GAS STATION - NIGHT Zack paces in front of the booth, checks his watch. INT. WRIGHT CABIN - NIGHT Bitsey has an old "I Love Lucy" episode. Ejects, looks at the label: "Lucy." She grabs another, labeled "Unforgiven." The credits from Unforgiven roll on screen. BITSEY Shit! EXT. GAS STATION - NIGHT Zack sees lights coming toward him. Gets into the phone booth, drops two coins, dials six numbers. He hesitates to punch the seventh, checks the road. The approaching lights belong to a car. He quickly hangs up. INT. WRIGHT CABIN - NIGHT Bitsey is frantic. Another tape is an old Johnny Carson interview with Pavarotti. BITSEY Shit! She reaches for another. EXT. GAS STATION - NIGHT Zack hugs himself in the waning drizzle. ZACK Come on. Fucking come on. INT. WRIGHT CABIN Bitsey has what looks like an office Christmas party. She goes for another tape -- the last. Cheyenne Autumn comes up on the screen. She hits eject. She gets up,

end

How many times the word 'end' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

emphatic

How many times the word 'emphatic' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

most

How many times the word 'most' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

beheld

How many times the word 'beheld' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

careful

How many times the word 'careful' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

slumbers

How many times the word 'slumbers' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

thing

How many times the word 'thing' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

mouthpiece

How many times the word 'mouthpiece' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

gamble

How many times the word 'gamble' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

examined

How many times the word 'examined' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

away

How many times the word 'away' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

early

How many times the word 'early' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

whom

How many times the word 'whom' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

second

How many times the word 'second' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

hours

How many times the word 'hours' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

covers

How many times the word 'covers' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

clearly

How many times the word 'clearly' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

combed

How many times the word 'combed' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

governor

How many times the word 'governor' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

policy

How many times the word 'policy' appears in the text?

-- BRUCE No. My mother. BURNS (he gets it and underlines it) Oh. Your mother -- well, of course, that relieves my mind. HILDY (to Bruce) Isn't it sweet of Walter -- still wanting to protect me? She gives Burns that too-sweet look. BURNS (apparently taking this at face value) I know I wasn't a good husband, Hildy, but you can always count on me. TWO SHOT - FEATURING BRUCE AND HILDY BRUCE (a little cookily) I don't think she'll need you very much -- I aim to do most of the protecting myself. He pats Hildy's arm -- she smiles at him. THREE SHOT - HILDY, BRUCE AND BURNS BURNS Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you. HILDY I might have, Walter, but you were never there. BURNS Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of sex. But all she really ever wanted was a home. BRUCE Well, I'll try to give her one. BURNS I know you will, Bruce. Are you going to live with your mother? BRUCE Just for the first year. BURNS (sighing) That'll be nice. A home with mother. A real honeymoon. In Albany, too. Ow! That "ow" is sotto voce, but it's the direct result of a kick under the table from Hildy. BRUCE Mighty nice little town, Albany. They've got the State Capitol there, you know. BURNS Yes, I know... (he chuckles) Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town... His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter enters the scene. GUS Well, here we are. He begins serving them. BURNS (trying to pick up again after a second) How's business, Bruce? BRUCE Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life. BURNS I don't blame them. Gus, who has just managed to come between Hildy and Burns, lets out a startled "ouch". HILDY Oh, I'm sorry, Gus! My foot must have slipped. GUS (a pained expression belies his words) That's all right. BURNS I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do. BRUCE Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts. BURNS I see what you mean. They fall to. CLOSE SHOT - HILDY She sips her coffee and acts surprised. HILDY Gus, this -- CLOSEUP - GUS GUS (winking) Good coffee, isn't it? CLOSEUP - HILDY She smiles and winks back, and takes another sip. GROUP SHOT AT TABLE Gus starts to go. BRUCE You've forgotten my milk. GUS Oh. The milk. Yes. He leaves scene, shaking his head. Burns sips his coffee. He likes it. He lifts his cup to Hildy. BURNS Here's luck to the bride and bridegroom. HILDY (lifts cup) Thank you. BRUCE (looking for something to respond with -- apologetically) He hasn't brought my milk yet. A bus boy comes into scene and stops before Burns. BUS BOY They want you on the phone, Mr. Burns. BURNS They would! Boy goes, Burns rises, starts off, comes back for his cup of coffee, which he then takes off with him. TWO SHOT - BRUCE AND HILDY BRUCE (looking after him) You know, Hildy, he's not a bad fellow. HILDY (looking at him maternally) You're so nice, Bruce, you think everybody else is. BRUCE Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm. HILDY He comes by it naturally. His grandfather was a snake. BRUCE (shaking his head) If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet. HILDY That's what he did to me. Swept me right off my feet -- and left me lying on the floor. INT. PHONE BOOTH FULL SHOT Burns is listening, has coffee on ledge and sips it now and then. BURNS Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around. He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed. He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants. He holds that expression as he comes out of the booth. INT. RESTAURANT MED. SHOT AT TABLE Gus is entering the scene. GUS Your milk, sir. He serves Bruce. GUS And I brought you another cup of coffee, Hildy. Gus serves her and puts still another cup in front of Burns' chair. HILDY Thanks, Gus. She takes a sip and almost chokes. BRUCE Too hot? HILDY (gasping for breath) No. It's strong. (quickly) But I like it that way. Gus goes, smiling. BRUCE (looking off) Say, what's happened to Burns? He looks sunk, doesn't he? HILDY (beaming) He certainly -- hic -- does! Burns comes into scene, looking like a 1929 banker just before jumping off a roof, and sits down. BRUCE Anything the matter? BURNS Just Sweeney again. One of my best reporters. HILDY What now? BURNS His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him. (he sips his coffee) I tell you, drink is the ruin of this nation. HILDY (sipping hers) You said it. BURNS So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow. BRUCE Just what is the lowdown on Williams? BURNS It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down. HILDY If he's nuts, why doesn't the State just put him away? BURNS Because it happened to be a colored policeman. HILDY (for Bruce's benefit) The colored vote happens to be very important to the Mayor of this town. BURNS Especially with an election coming up in a few days. BRUCE Are you sure Williams is not all there? BURNS All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected. BRUCE But couldn't you show the man wasn't responsible? CLOSEUP - BURNS BURNS (there's a sly expression on his face) How? HILDY'S VOICE You could run an interview that would prove it. Remember the interview I wrote with Jimmy Wellman? That saved his life. BURNS (slapping hands together) Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but -- (the enthusiasm dies away) -- you're going away. I forgot. THREE SHOT BRUCE How long would the interview take? BURNS Oh -- an hour for the interview. Another hour to write it. BRUCE We could take the six o'clock train, Hildy. If it would save a man's life. HILDY No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same. BURNS I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart -- HILDY Why, Walter, you're getting poetic! BURNS (to Bruce) You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands! Bruce gulps. BURNS How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives! HILDY (breaking into applause) What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act! BURNS What do you mean, only an act? Haven't you got any feeling? HILDY Well, it's either an act on your part or a miracle on Sweeney's. BURNS What do you mean? HILDY I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors. BURNS (laughs, throws up his hands) All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition. HILDY We're not interested. BURNS (to Bruce) Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a $100,000.00 insurance policy for me. What do you say? BRUCE I don't use my wife for business purposes, Mr. Burns! HILDY Wait a minute, Bruce. What's commission on a $100,000.00 policy? BRUCE Well, at his age, twenty payment life, a little over a thousand dollars. HILDY And what's the matter with a thousand dollars? BRUCE But -- HILDY According to the budget, we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined? BRUCE I could get a company doctor in twenty minutes. BURNS Now you're talking! HILDY (turning on Burns) You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train. (back to Burns) And no tricks, Walter! BURNS What tricks would I pull? HILDY Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy? BRUCE About twenty-five hundred dollars. HILDY Better make that a certified check, Walter. BURNS (indignantly) What do you think I am -- a crook? HILDY Yes --- and that's putting it mildly! No certified check -- no story -- Get me? BURNS All right. The check will be certified. Want my fingerprints? HILDY (rising) No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified. BRUCE All right, dear. HILDY Wait a minute, Bruce. Have you got that money? BRUCE (feeling his pocket) The five hundred? Sure. HILDY On second thought, would you let me have it? I'll get the tickets. BRUCE But -- HILDY Believe me, Bruce, I know what I'm doing. He'd get you in a crap game -- BRUCE But I don't gamble, Hilda! HILDY I know a lot of men who didn't do anything till they met Walter Burns. Please, dear. BRUCE (reluctantly) All right. (he pulls out his wallet) One -- two -- three -- four -- five. Five hundred. Be careful, honey. HILDY I'll be careful, darling. You be, please. She kisses him, kisses her hand and pats it to Burns' cheek. HILDY So long, husbands. She goes. TRUCKING SHOT - HILDY leaving. She weaves just a bit. MED. CLOSE SHOT - THE TWO MEN They look after her. BRUCE (smiling a little) I never knew Hildy to be so determined before. BURNS You haven't seen anything yet. Bruce turns to look at Burns -- they look at each other. FADE OUT: FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT TELEPHONE It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT (into phone) Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute. (hangs up and studies his cards) Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters Murphy, Endicott, Wilson, Schwartz and McCue. MURPHY (dropping his cards) By me. WILSON (also dropping) Droparoo. Schwartz knocks on table and drops cards. MCCUE (reluctantly) I'll call. ENDICOTT Three sixes. Is that any good? HILDY'S VOICE It sure looks good from here. The boys all look up toward sound of Hildy's voice. CLOSE SHOT HILDY JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT REPORTERS They are all talking at once as Hildy comes into the scene. There are ad libs of "Hildy!" "Where'd you come from?" "Holy Mackeral, Hildy Johnson!", etc. Hildy raises her hand for silence. HILDY One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. HILDY No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? Hildy takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT (grinning) Well, that about covers everything. HILDY Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun? MURPHY If you ask us, no. If you ask the state alienists, the answer is yes. MCCUE It's a simple story. Earl Williams works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and Williams loses his job. (waving his hand toward Wilson) Take it away, Fred Wilson! WILSON Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. (gesturing toward Schwartz) Come in, Dave Schwartz. SCHWARTZ His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all. HILDY Thanks, boys. That's all I want to know. Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to Bensinger's desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy Bensinger's desk. HILDY I know, I just want to give him a thrill. Hildy crosses back to desk and sits down. HILDY All right, boys, now that everything is settled, deal me in. Hildy glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT HILDY She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. HILDY (into phone) Hello, this is Hildy Johnson. Get me Walter Burns. (she studies her cards -- then, into phone) Hello, Walter. How's the old double- crosser? CLOSE SHOT WALTER BURNS Telephone at his ear. BURNS Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: Burns listening intently on the phone and the doctor listening intently to his chest. BURNS (into phone) Going all right, eh? DOCTOR (nodding) Fine. Doctor suddenly realizes what he's said and looks up. BURNS (putting hand over mouthpiece of phone) Doctor, will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include Bruce, who has some papers in front of him at the desk. Bruce grins. DOCTOR How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- BURNS (into phone) Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO: INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT TELEPHONE cards in her other hand. HILDY How about that check? All right, Mr. Burns, but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. (she hangs up) All right, boys. Up a dime. ENDICOTT'S VOICE Right back at you. MED. SHOT MCCUE (dropping his cards) You fight it cut. HILDY And up a dime. ENDICOTT (studying a second) I call. What you got? HILDY (displaying her cards) Three bullets! Any good? ENDICOTT (throwing his cards away) Beats king up. Hildy rakes in the money. MCCUE What are you going to do with all that money, Hildy? WILSON Yeah -- you can't spend it in Albany. HILDY Oh, I'll think of something. MED. SHOT taking in door and including group. Bensinger, another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. MURPHY Hello, Harvard! Got anything new on the hanging? CLOSE SHOT BENSINGER BENSINGER (cockily) Why don't you fellows get your own news? CLOSE SHOT HILDY HILDY Can't you say 'hello' to a fellow? TWO SHOT FEATURING HILDY AND BENSINGER BENSINGER Hildy! He comes over to shake hands. BENSINGER Are you back? HILDY No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. BENSINGER What doing? HILDY I'm getting married tomorrow. BENSINGER Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, Hildy? SCHWARTZ Come on, Hildy, your deal. CLOSE SHOT BENSINGER AT HIS DESK He opens a drawer, the one in which Hildy put her stockings. BENSINGER Say, who put these stockings in my desk? (he turns to the group) McCUE's VOICE I don't know, but I think they got rats in the building. BENSINGER (makes a gesture of disgust and picks up telephone) This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT BENSINGER BENSINGER (into phone) Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING MURPHY Murphy reaches for the phone. Without dropping his cards, he jiggles the hook. MURPHY That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. (into phone) Gimme the desk. ENDICOTT This Egelhoffer's pretty good. MURPHY Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT BENSINGER He is referring to his notes as he talks: BENSINGER (into phone) Here's the situation on the eve of the hanging: CLOSE SHOT MURPHY He continues playing his cards: MURPHY (into phone) This is Murphy. More slop on the hanging. CLOSE SHOT BENSINGER BENSINGER (into phone) A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT MURPHY MURPHY (into phone) Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. (consults his hand) Up a dime. CLOSE SHOT BENSINGER BENSINGER (into phone) The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT MURPHY MURPHY (into phone) And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING HILDY ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' MURPHY What have you got, Hildy? HILDY Kings and sixes. MURPHY (throwing down) That's good. HILDY (sweeping coins in) 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. WILSON That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop. INT. WALTER BURNS' OFFICE MED. SHOT The doctor has gone. Burns is adjusting his shirt. Bruce is sitting at the desk. BRUCE I don't know. This makes me feel funny. TWO SHOT BURNS Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to. BRUCE I feel I ought to take care of her. BURNS Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband: Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent. BRUCE Well, I'm independent, too. BURNS Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries? BRUCE Well, of course, if you put it that way. BURNS (everything he has on the ball) And remember this, Bruce! I love her, too. BRUCE I'm beginning to realize that. BURNS And the beauty of it is she'll never have to know 'till I've passed on. Maybe she'll think kindly of me --- after I'm gone. BRUCE (a lump in his throat) Gee, you almost make me feel like a heel -- coming between you. BURNS No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over. He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away. MED. SHOT as Duffy comes into the room. He advances toward the desk. DUFFY (placing check on desk) Here's that certified check, Walter. (sotto voce) I drew out my wife's savings, and if this isn't back by 5:30 I'm a ruined man! BURNS (also sotto voce) Don't worry, Duffy, you'll have it back by five. (louder) Thanks, Duffy. Stick around. (picking up check he rises) He walks over to Bruce. BURNS Well, Bruce, here you are -- certified and everything. BRUCE (also rising) Certified! I'm afraid Hildy'd feel ashamed to think she hadn't trusted you. CLOSEUP DUFFY He reacts to this sweetly solemn thought. BURNS AND BRUCE CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his arm around him. BRUCE Well, she'll know some day. BURNS That's all I ask. Oh, wait a minute. He releases Bruce, runs back and gets umbrella and brings it to him. BURNS Don't want to forget this, you know. Might start to rain again. BRUCE Thanks. I'll phone Hildy right away to get that story. They are at the door. Burns opens the door for Bruce. SHOT FEATURING LOUIS Louis is sitting at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and Burns come into the scene talking. BURNS Well, anyway, I know Hildy's getting a good man. BRUCE (embarrassed) Thanks a lot. They pass Louis. He looks up. BRUCE AND BURNS Bruce, still embarrassed, looks down. Burns turns and signals to Louis. CLOSE SHOT LOUIS watching. CLOSE SHOT BURNS Burns points to Bruce's back. CLOSE SHOT LOUIS Louis nods. BRUCE AND BURNS BURNS Well, I got to get back. You can find your way out, can't you? BRUCE Oh, sure. (he extends his hand) Well, thanks for everything. BURNS Don't thank me. I should thank you. So long. BRUCE So long. He turns and goes. Burns watches him. REVERSE ANGLE Bruce is going out, his back toward Camera. Burns watches. Louis comes between Burns and Bruce and follows Bruce out as we see Bruce going toward outer door. CLOSEUP BURNS He rubs his hands in glee as he starts back for his office. INT. PRESS ROOM SHOT FEATURING HILDY She is raking in a pot. HILDY I don't know why you boys are so good to me. MCCUE (throwing cards down) Your poker's improved a lot, Hildy. Lend me two bucks, will you? HILDY Nothing doing. I'm playing for keeps. There is a whirr and crash from the gallows. They start. BENSINGER AT WINDOW BENSINGER I wish they'd stop that practicing. The others drift into the scene and look out of the window. INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men. INT. PRESS ROOM GROUP AT WINDOW HILDY (turns away) Well, anyhow, I won't be covering stuff like this any more. SCHWARTZ What's the matter? Getting yellow? MED. SHOT A phone rings. McCue answers it. MCCUE For you, Hildy. Hildy goes toward phone. CLOSE SHOT HILDY AT PHONE HILDY Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified? INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth. INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE McCue is hovering near. MCCUE Certified, eh? Who is it -- your milkman? HILDY (in phone) But, Bruce, don't keep it in your wallet!... Well, you see -- (she is thinking rapidly) -- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years. MCCUE Say, I've been a reporter twenty years and never heard any hooey like that. Where'd you get it? HILDY (to McCue) I made it up just now, and who's asking you? (into phone) I know it's silly, honey, but do it for me, won't you?... Yes, right now. INT. PHONE BOOTH CLOSE SHOT BRUCE BRUCE All right. Wait a minute. He takes check out of wallet, folds it into lining of hat. BRUCE All right. I've done it. Now, are you satisfied? INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE HILDY Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: HILDY Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear. INT. PHONE BOOTH CLOSE SHOT BRUCE He blows a kiss into the phone and hangs up. EXT. OUTSIDE RESTAURANT LOUIS Studying a paper, reads it for a moment. Bruce comes out of restaurant and starts out. After a second, Louis follows him. INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL

our

How many times the word 'our' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

accompanied

How many times the word 'accompanied' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

refused

How many times the word 'refused' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

oxford

How many times the word 'oxford' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

made

How many times the word 'made' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

may

How many times the word 'may' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

matter

How many times the word 'matter' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

enrich

How many times the word 'enrich' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

withdrawn

How many times the word 'withdrawn' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

only

How many times the word 'only' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

told

How many times the word 'told' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

chapter

How many times the word 'chapter' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

te

How many times the word 'te' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

oho

How many times the word 'oho' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

longer

How many times the word 'longer' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

wherein

How many times the word 'wherein' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

thus

How many times the word 'thus' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

thoughts

How many times the word 'thoughts' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

woollen

How many times the word 'woollen' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

muttered

How many times the word 'muttered' appears in the text?

. ." began Everingham with some hesitation. "I pray you do not trouble to deny it. Let us admit that it is so. Do you not think then that Queen Mary will have a like suspicion as yourself?" "Probably." "And will, in consequence, turn the floods of her wrath on my innocent head. A woman angered is capable of anything, my lord. My position at this Court would become untenable. My mission probably would fail. Let us say that by endeavouring to part His Grace from the Lady Ursula, I would wish to give Her Majesty proof of the fact that I bore no part in their chance meeting." "I understand," rejoined Everingham, still vaguely suspicious of any ulterior motive lurking behind the Cardinal's apparent frankness, "but . . ." "Once His Grace is effectually parted from his new flame, the game will stand once more as it did before the unfortunate episode of this afternoon . . . unfortunate alike to your interests and to mine. Is that not so?" "Certainly." "I feel, therefore, that until then we ought to be . . . well! if not friends exactly . . . at least allies." "Only to resume hostilities again, Your Eminence?" "By all means." "Once His Grace has ceased to think of Lady Ursula, I and my party will once more work heart and soul to bring about the alliance of Wessex with the Queen." "And I to win the Queen's hand for Philip of Spain. Until then? . . ." "Armed truce, Your Eminence." "And you will accept my help? It may be worth having, you never can tell," quoth His Eminence with a sarcastic smile, which Everingham could not perceive in the darkness. CHAPTER XVIII THE VEILED WITCH Lord Everingham felt not a little perplexed. The Cardinal seemed bent on pressing his point, and on obtaining a definite promise of friendship, whilst the young man would have preferred to leave the matter _in statu quo_, a condition of open and avowed enmity. Moreover he would have wished to speak with some of his friends. Lord Sussex and the Earl of Oxford were staying at the Palace. Sir Henry Jerningham, Arundel, Cheyne, Paget, all hot partisans of Wessex, could easily be communicated with. In the meanwhile Everingham was racking his brain for the right word to say: the retort courteous, which would not hopelessly alienate His Eminence, if indeed he was seeking temporary friendship. Chance and a zealous night watchman put an abrupt end to Lord Everingham's perplexity; even when he was about to speak, a gruff voice which seemed to come right out of the darkness interrupted him with the well-known call-- "Who goes there?" Almost immediately afterwards the strong light of a lanthorn was projected on the figure of the Cardinal. "How now, friend," quoth His Eminence presently, "art seeking for the truth with that lanthorn of thine?" But already the knave, having recognized the brilliant crimson robes and realized the high quality of their august wearer, had lost himself in a veritable maze of humble apologies. "I crave Your Eminence's merciful pardon," he stammered. "I did not think . . . I am on duty . . . I . . ." His thin, shrivelled form was scarce distinguishable in the gloom, only his old face, with large bottle-nose, and his pale, watery eyes appeared grotesque and quaint in the yellowish light of his lanthorn. "Then fulfil thy duties, friend," rejoined the Cardinal, who made it a point always to speak kindly and urbanely, even to the meanest lout. The man made a low obeisance and would have kissed His Eminence's hand, but the latter withdrew it gently. "Are there marauders about, friend watchman?" he condescended to ask, as the man prepared to go. "Thou dost not appear to be very strong, nor yet stoutly armed." "Your Eminence's pardon," replied the man, "'tis for a woman I am told to watch." "A woman?" "By Her Grace the Duchess of Lincoln's orders." "Ah!" remarked His Eminence, with sudden interest. "Mayhap some thief or vagrant, Your Eminence." "Aye, mayhap! Then go thy way, good watchman; we'll not hinder thee." Slowly the man shuffled off, dangling his lanthorn before him. The Cardinal watched the patch of brilliant light until it disappeared behind a projecting bosquet. His Eminence had been exceedingly thoughtful. "Know you aught of this, my lord?" he asked of Lord Everingham, who also seemed wrapped in meditation. "I suspect something of it," replied the young man slowly. "There is a story afloat--gossip, I thought it--that one of the Queen's maids-of-honour has been playing some curious pranks at night . . . and in disguise. . . ." "Indeed? Know you who the lady is?" "No! nor can I even guess. All the maids-of-honour are young and full of fun, and no doubt the girlish pranks were harmless enough, but Her Majesty is very austere and rigidly stern where questions of decorum are concerned." "So the Duchess of Lincoln, like a watchful dragon, would catch the fair miscreant _in flagrante delicto_, eh?" continued His Eminence. Mechanically he turned to walk along the path recently followed by the night watchman. His Eminence would have scorned the idea of any superstition influencing his precise, calculating mind, but, nevertheless, he had a strange belief in the guiding hand of Chance, and somehow at the present moment he had an unaccountable presentiment, that this gossip anent some young girl's frolic would in some way exercise an influence on his present schemes. As if in immediate answer to these very thoughts a woman's frightened scream was suddenly heard close by, followed by muttered curses in the watchman's gruff voice. "What was that?" exclaimed Everingham involuntarily. "The lady _in flagrante delicto_, meseems," rejoined the Cardinal quietly. And both men began to walk more rapidly in the direction whence had come the woman's scream. The next few moments brought them upon the scene, and soon in the gloom they distinguished the figure of the old watchman apparently struggling with a woman, whose head and shoulders were enveloped in some sort of veil or hood. The lanthorn, evidently violently thrown on the ground, had rolled down the path some little distance from this group. The woman was making obvious and frantic efforts to get away, whilst the old watchman exerted all his strength to keep tight hold of her wrists. "What is it to thee, man, what I am doing here?" the woman gasped in the midst of her struggles. "Let me go, I say!" She was evidently not very strong, for the old watchman, shrivelled and shrunken though he was, had already mastered her. She had lost her balance, and was soon down on her knees. With a vigorous wrench the man contrived to force her arms behind her back; he held them there with one hand, and with the other was groping in his wallet for a length of rope. "Not before thou hast given a good account of thyself before the Duchess of Lincoln, my wench!" he said, as he threw the rope round her shoulders and very dexterously contrived to pinion her arms behind her. "Her Grace?" she murmured contemptuously. "I have naught to do with Her Grace. . . . Let me go, man; thou hast no right to tie me thus." "Now then, my girl, get up, will ye? and come along quietly with me. . . . I'll not hurt ye . . . if ye come along quietly." The man helped her to struggle to her feet. Her veil or cloak had evidently fallen from her head, for the Cardinal and Lord Everingham, who were silently, and with no small measure of curiosity, watching the strange spectacle, caught the glint of a woman's face and of bright golden hair. The watchman was trying to lead her away towards the Palace. "Let me go, I tell thee," muttered the girl with persistent obstinacy. "I have important business here, and . . ." But the old man laughed derisively. "Important business? . . . and prithee with whom, wench?" "With the Duke of Wessex . . ." she retorted after a slight hesitation, "There! . . . now wilt let me go?" But the watchman laughed more immoderately than before. "Oho! . . . ho! ho! ho! that's a likely tale, my wench, there's many a young woman has business with His Grace, I'll warrant. . . . But thou'st best tell that tale to the Duchess of Lincoln first. . . . Business with the Duke of Wessex . . . ha! ha! ha! . . ." "My friend," here interposed a gentle, very urbane voice, "meseems thy zeal somewhat outruns thy discretion. If this child has indeed business with the Duke of Wessex, His Grace might prefer that thou shouldst keep a quieter tongue in thy head." The Cardinal, at sound of the Duke's name, had gradually drawn nearer to the group. Lord Everingham, impelled by the same natural curiosity, had followed him. "You would wish to speak with His Grace, child?" continued His Eminence with that same gentle benevolence which inspired an infinity of confidence in the unwary. "Do you know him?" The watchman, astonished, abashed, very highly perplexed at this unexpected interference, was rendered absolutely speechless. The girl had turned defiantly on her new interlocutor, whose outline she could but vaguely distinguish in the darkness. "What's it to you?" she retorted with obvious suspicion and mistrust. "Not much I own," replied the Cardinal with imperturbable kindliness; "I only thought that being alone and perhaps frightened you would be glad of some help." "Your Eminence . . ." stammered the watchman, who was trying to recover his speech. "Silence!" commanded His Eminence. "I wish to speak with this young woman alone." The worthy watchman had naught to do but to obey. There was no questioning an order given by so great a lord as the Cardinal de Moreno himself. The good man discreetly withdrew, His Eminence quietly waiting until he was out of earshot. "Now, child, have no fear," said the Cardinal gently. "Tell me . . . you wish to speak with the Duke of Wessex?" She turned resolutely towards him. "You'll take me to him?" she asked. "Perhaps," he replied. A great struggle must have been raging within her. Even through the gloom His Eminence could see her shoulders and breast working convulsively, whilst her breath came and went in quick, feverish gasps. "I have been watching in the gardens at night," she murmured at last; "for he is a great lord, and I dared not approach him by day. He saved my life . . . and I can read the stars. . . . I see that a great danger threatens him. . . . "Oh! I must warn him," she added in a sudden outburst of passionate vehemence. "I must go to him . . . I must." Lord Everingham tried to interpose, but His Eminence restrained him with a quick touch upon his arm. The Cardinal's hands were beautiful, white and caressing as those of a woman, delicately scented and be-ringed. He passed them gently over the girl's head, whilst he whispered softly-- "So you shall, child . . . so you shall. . . . Then, tell me . . . His Grace saved your life, you say? and you are very grateful to him, of course . . . more than that, perhaps . . . you love him very dearly, eh? . . ." "What's that to you?" retorted the girl sullenly. Lord Everingham once more made as if he would interrupt this curious interrogatory. His loyalty to his friend rebelled against this prying into matters which might prove unpleasant for Wessex. That the girl was no Court lady out on some mad frolic was patent enough, whilst the passionate ring of her voice, when she mentioned the Duke's name, proved very clearly that she had seen him, and seeing him had perhaps learnt to love him. Who knows? Some secret intrigue, not altogether avowable, might lie at the bottom of this strange adventure. Everingham's heart misgave him at the thought that Wessex' most open enemy should perhaps learn a secret hitherto kept from all his friends. The girl, on the other hand, seemed willing to trust the Cardinal. She repeated doggedly once or twice-- "You'll take me to him? . . . at once? . . ." "If I can," replied His Eminence, still very protecting, very suave and kind, "but not just now. . . . His Grace is with the Queen . . . you are too sensible and earnest, I feel sure, to wish to intrude upon him. . . . But will you not trust me a little while? . . . and I promise you that you shall see him." "Nay! I've nothing to lose by trusting you or any one," she replied. "If you do not take me to him, I'll find my way alone." "Come, that's brave independence. But, child, if I am to help you with His Grace of Wessex, I must at least know who you are." "They call me Mirrab." At sound of the name Everingham started. One or two vague recollections, in connection with the soothsayer of East Molesey Fair, seemed to be chasing one another in his mind, but he could not give them definite shape. A strange feeling, made up of uneasiness and shame, coupled with excitement and intense curiosity, caused him to go and pick up the watchman's lanthorn, which lay on the ground close by. When he was near the girl again he held it up, and the light fell full on her face. Then he remembered. It was Mirrab, the necromancer, the kitchen wench, used by a vulgar trickster to hoodwink some gullible burgesses and their dames at the village fair, but whom Nature had, in one of her unaccountable freaks, endowed with the same golden hair, the same exquisite features, the same deep and wonderful eyes, as the most beautiful woman at Mary Tudor's court, the Lady Ursula Glynde. The veil which usually enveloped Mirrab's head had fallen round her shoulders; her dress was of coarse woollen stuff, open at the neck and short in the sleeves; the arms and hands, rough and clumsy in shape, betrayed the girl's humble origin, and the likeness to Lady Ursula was confined to the face and hair. But it was there, nevertheless; quite unmistakable, even bewildering to the two men who were gazing, speechless, at this strange spectacle. Then Everingham put down the lanthorn. He dared not look at the Cardinal, half fearing, perhaps, that the wild thoughts and schemes which had suddenly arisen in his mind at sight of this extraordinary freak of nature should have already found more definite shape in His Eminence's astute and far-seeing brain. Strangely enough, at this moment, the practised diplomatist, the wily and unscrupulous Spaniard, met the more simple-souled Englishman on common ground, and at once felt sure of his co-operation. Both had the same end in view: a desire to break up any relationship which may have sprung up between the Duke of Wessex and the beautiful young girl, of whom this otherwise coarse wench was the perfect physical counterpart. But the Spaniard was the quicker in thought and in action. Whilst Everingham still vaguely wondered how the extraordinary resemblance might be utilized to gain that great end which he had in view, the Cardinal had already formed and matured a plan. He took the veil from Mirrab's shoulders and once more drew it over her head. Then he undid the clumsy knot with which the watchman had pinioned her hands. Mirrab remained perfectly passive the while; she seemed under the magic spell of the soft, velvety hands, which had, as it were, taken possession of her person. The two men had not exchanged one word since the light of the lanthorn had revealed the strange secret to them; they seemed to be acting in perfect accord. There was no longer any need for protestation of outward friendship, or for cementing the compact of temporary alliance. Everingham once more picked up the lanthorn and went in search of the watchman, in order to dismiss him with a word of command and to ensure his silence with a threat and a few silver coins. The man, of course, knew nothing of the importance of the event which he had unwittingly brought about. He may have vaguely wondered in his mind why His Eminence the Spanish Cardinal should take such a keen interest in a female vagrant, found trespassing on royal ground. But the few pieces of silver given to him by the noble lord, soon silenced even this transitory astonishment. Stolidly he resumed his nightly round, satisfied that he need no longer look for lurking thieves in the park. When Everingham, having seen the last of the watchman, returned to the spot where he had left His Eminence and Mirrab, he found that both had disappeared. PART III A GAME OF CHESS CHAPTER XIX THE PAWNS The evening banquet had been anything but gay. The Queen, as was oft her wont, had hardly said a word. The Cardinal de Moreno looked thoughtful and His Grace of Wessex was singularly silent. Directly after supper Her Majesty retired to her own apartments, accompanied by her ladies, leaving behind her that desultory atmosphere of dull and purposeless conversation, which hangs round a supper table in the absence of the fair sex. The brilliant assembly broke up into small groups. The Earl of Pembroke and two or three other lords were leaving for Scotland towards midnight; their friends gathered round them to bid them God-speed. In the deep embrasure of the great bay His Grace of Wessex was in earnest conference with Lord Winchester and Sir William Drury, whilst at one end of the long centre table half a dozen young gallants were idling over a game of hazard. But there was a feeling of obsession in the air--a sense as if something momentous was about to happen. Whispered rumours, more or less conflicting, were afloat, yet nothing definite was known. On the other hand, idle, far-stretched gossip was rife and was even growing in extravagance as the evening wore on. No one had been present on the terrace to witness the little incident which occurred there earlier in the afternoon save the three distinguished actors in the brief comedy scene. Obviously from them nothing could be gleaned. The Queen and the Cardinal would not be like to enlighten the curious, whilst the Duke of Wessex, at all times reserved and unapproachable, could not be asked to give his version of the event. The foreign envoys had very soon followed the example set by Her Majesty and withdrawn from the circle, which seemed more hostile to them than usual to-night. The Cardinal de Moreno and the Marquis de Suarez were the first to go. They occupied the magnificent suite of chambers wherein ill-fated Wolsey had lived, schemed, and fallen. The more sumptuous series of rooms beyond--those built with lavish extravagance by King Henry VIII for his own personal use--had been placed at the disposal of His Grace of Wessex and his numerous retinue. Between the Duke's apartments and those allotted to the envoys of the King of Spain was the fine audience chamber, used by the Queen herself or by her more distinguished guests for the reception of important visitors. It was here that Lord Everingham, anxious, perturbed, vaguely ashamed of his own actions, had sought out the Cardinal de Moreno after the banquet and begged for an interview. His Eminence, suave, urbane, a veritable mirror of benevolence, had received him with a smile of welcome on his lips and a wealth of kindly reproach in his eyes. "Ah, my lord!" he said to the young man, as soon as the servants had withdrawn, "Nature, I fear me, hath not intended you for a diplomatist." "How so?" "This interview to-night, with me--was it necessary?" "I could not rest," said Everingham impulsively, "until----" "Until you had proclaimed it to the entire Court in general, and to His Grace of Wessex in particular, that you had a secret understanding with his political rival, the Spanish ambassador," rejoined His Eminence drily. "An interview . . ." "Have you ever honoured me thus before, my lord?--you or any of your friends?" "No . . . perhaps not . . . I only requested a brief _t te- -t te_. . . ." "And had I refused that dangerous _t te- -t te_, what would you have done?" "Demanded it," replied Everingham hotly. "I must know what has happened, and what you intend to do." His Eminence threw a quick look at the young man, a look half of pity, half of contempt. For a moment it seemed as if an angry retort hovered upon his lips. But he merely shrugged his shoulders and said blandly-- "You are very expert at the game of chess, my lord, so they tell me." "I have played it a great many times," rejoined Everingham, a little astonished at the sudden transition. "Ah! and have become very proficient, I understand. Will you honour me by playing a game with me?" "Now?" "Why not?" "The lateness of the hour . . . I start for Scotland almost directly." "Yet in spite of these difficulties you sought a casual interview with an avowed political enemy." "No one need know . . ." stammered the young man, slightly abashed. "Every one inside this Palace knows by now that my lord of Everingham, the intimate friend at His Grace of Wessex, is closeted alone with the envoy of His Majesty the King of Spain," rejoined His Eminence with slow emphasis. "Believe me, my lord, a game of chess is the wisest course." "Will you tell me first . . ." "I can tell your lordship nothing, except across the chess board." "Well! . . . since you wish it . . ." "My wishes have naught to do with this matter. I was following the most elementary dictates of prudence." He touched the handbell and rang. A liveried servant appeared. "Had I not told thee, sirrah," said His Eminence, "that my lord Everingham had kindly consented to give me my _revanche_ at chess ere he departed? How is it that the board has not been prepared?" "I crave Your Eminence's most humble pardon," protested the man in confusion. "I had not understood . . ." "Not understood?" laughed the Cardinal good-naturedly. "Marry! the knave doth impugn my knowledge of the English tongue." "I would not presume, Your Eminence . . ." "Tush, man! hold thy tongue and repair thy negligence. Where's the board? His lordship hath but an hour to spare." Everingham watched with ill-concealed impatience the elaborate preparations made for the game. He thought it quite unnecessary, and had he dared he would have refused to join in the senseless deception. But in this matter he had ceased to trust his own judgment, and, much against his will, was allowing the Cardinal to take the lead. He felt out of his own intellectual depths in this slough of intrigue wherein he had so impulsively ventured, and out of which he now felt incapable of extricating himself. Simple-minded and loyal to the core, he had a horror of any treachery against his friend. No other consideration would ever have prompted him to join in an underhand scheme with the Spanish Cardinal, save his own earnest faith in the ultimate good which would accrue therefrom, both to the country at large and to Wessex himself. With his whole heart and soul he believed that, at this moment, the Duke's marriage with Lady Ursula Glynde would be nothing short of a national calamity. Reluctantly, he sat down to the board at last. His Eminence, opposite to him, was shading his face with his delicate white hand, and at first seemed absorbed in the intricacies of the game. Two servitors were still busy about the room. One of them asked if His Eminence would desire more light. But the Cardinal preferred the fitful flicker of a few wax tapers. He liked the fantastic shadows which left the greater part of the vast chamber in gloom. Lord Everingham was a noted and very proficient player; His Eminence was enjoying the game thoroughly. "Check to your king, my lord Cardinal," said the young Englishman at last. "Only a temporary check, you see, my lord," rejoined His Eminence, as with slender, tapering fingers he moved one of the ivory pieces on the board. "By the help of this one little pawn, the safety of the whole combination is assured, and 'tis your knight now which is in serious danger." "Not serious, I think, Your Eminence, and once more check to your king." Even as he spoke the two servitors finally left the room, closing the heavy doors noiselessly behind them. "Oh!" said the Cardinal thoughtfully, "this will necessitate a bolder move on my part. You mark, my son," he added as soon as he had made a move, "how beautifully Nature herself plays into our hands: you and I desired to part His Grace of Wessex effectually and for ever from his beautiful affianced bride. Two hours ago this seemed impossible, and lo!--a girl comes across our path: low-born, brainless, probably a wanton, yet the very physical counterpart of virtuous Lady Ursula, and----" "Check," said Everingham drily, as he moved his castle. "Nay! nay! we'll once more move this little pawn," rejoined His Eminence, with his usual pleasant benevolence, "and see how simple the plan becomes." "'Tis of that plan I longed to hear." "So you shall, my son, so you shall," said the Cardinal very kindly. "What would you wish to know?" "The girl Mirrab?--Where is she?" "In Don Miguel de Suarez rooms, dressing herself in quaint finery, collected for the purpose by my faithful servant Pasquale, who has a valuable female friend in the Queen's own entourage. A silk kirtle, rich white robes, some fantastic ornaments for the hair, and the likeness 'twixt our Mirrab and the high-born Lady Ursula will be more strangely apparent than ever. Your turn to move, my lord. I pray you do not lose the thread of this interesting game." "'Tis easy enough to lose oneself in the mazes of Your Eminence's diplomacy," quoth the young man anxiously. "Having dressed the girl up in all that finery, what do you propose to do?" His Eminence was silent for awhile; he seemed absorbed in an elaborate strategical combination, directed against his opponent's king. Then he moved his queen right across the board and said quietly-- "What do I propose to do, my lord? Only, with the aid of that diplomacy which you English affect to despise, contrive that His Grace of Wessex should see a lady--whom he will naturally mistake for the Lady Ursula Glynde--in a highly compromising situation, and the love idyll begun this afternoon will abruptly end to-night." "But how?" "Ah, my lord! surely we must trust Chance a little. The fickle jade has served us well already." "I'll not allow a pure woman's reputation to be sullied by any dastardly trick . . ." began Everingham hotly. "Pray, my lord, what is your definition of a dastardly trick?" rejoined His Eminence suavely. "Is it the use made by a political opponent of every means, fair or foul, to accomplish his own aims, which he considers great and just? or is it the work of a friend--an intimate, confidential friend--joining issue for the like purpose? Nay, nay! understand me, my dear lord," he added, with an infinity of gentle kindliness expressed in the almost paternal tone of his voice, "'twas not I, remember, who ever thought to blame you. Your aims and ambitions are as selfless as mine own: for the moment our purpose is the same. Will you honour me by allowing me to show you the way of attaining that purpose, quickly and surely? I'll not ask you to lend me a hand. I would gladly have kept from you the knowledge of my own intricate diplomacy. Why should you fear for the Lady Ursula? Is her reputation in your eyes of greater moment than the success of your schemes?--yours and all your faction, remember." "Ah! there you have me, my lord," rejoined Everingham with a sigh. "All England is at one with us in a burning desire to see Wessex wedded to our Queen. But this is where your diplomacy escapes me. Once Wessex is turned away from the Lady Ursula, he will, we hope, naturally turn to the Queen, who loves him passionately, and . . . Check!" he added, moving one of his pieces. "Ah! you press me hard. Your lordship is a skilful player," said the Cardinal, intently studying the board. "As for me, you see I seem to move my pawns somewhat aimlessly. For the moment, I wish to part His Grace of Wessex from Lady Ursula . . . after that--we shall see." Everingham was silent. A truly bitter conflict was raging in his simple heart. Loyalty to his friend, love for his country, and an overwhelming anxiety for its welfare, cried out loudly within him. The very thought of meeting Wessex face to face at this moment was terrible to him, and yet he would not undo what he had already done, and would not thwart the Spaniard's tortuous schemes by betraying them to the Duke. The purpose which he had in view blinded him to everything save the hope of its ultimate achievement. At this moment he felt that, if Wessex shared Mary Tudor's throne with her, so much that was great and good would come to England thereby, that all petty considerations of temporary disloyalty, or the reputation

mackeral

How many times the word 'mackeral' appears in the text?